Facing the Music: Voices from the Margins

Recent philosophy of music in the Anglophone analytic tradition has produced many fine-grained analyses of musical practices within the context of the Western fine-art tradition. It has not for the most part, however, been self-conscious about the normative implications of that orienting tradition. As a result, the achievements of recent philosophical discussions of music have been unnecessarily constricted. The way forward is to enrich the range of musical practices philosophy takes as its target of examination.     

Concatenationism and Anti‐architectonicism in Musical Understanding

This article discusses Jerrold Levinson's theory of concatenationism, which emphasizes the moment‐by‐moment character of musical listeners’ basic musical understanding, and the related project of anti‐architectonicism, which denies the influence of large‐scale music‐structural information on basic musical understanding. A reconstruction of Levinson's position reveals him to embrace a qualified architectonicism himself and shows that his remaining anti‐architectonicism is afflicted with several problems. While the conceptual distinction Levinson draws between a piece of music and its structure as well as his three “intuitions for concatenationism” all point toward important features of musical understanding, it is argued that none of them supports the anti‐architectonicist thesis in the intended manner. Furthermore, the way Levinson relates both musical understanding and musical value to a notion of aural cogency renders it difficult to see how one could understand music that one does not value or value music that one cannot understand. It is argued that the anti‐architectonicist focus of Levinson's project, together with the ensuing argumentative problems, follows from methodological commitments that might be overcome within disciplinary frameworks beyond philosophy. Suggestions are given for developing a positive concatenationism both in musicology and in philosophical aesthetics.     

Book Reviews

In his famous lecture on Kant's essay 'An Answer to the Question What is Enlightenment' Foucault distinguished between two traditions in modern philosophy coming out of Kant's work: 'an analytic of truth' and 'an ontology of present reality [ actualité ]' or 'a genealogy of ourselves'. The paper presents this distinction as a fruitful displacement of the distinction between 'analytic' and 'continental' philosophy,which gives the latter precise cultural and philosophical meaning. The paper clarifies the distinction and argues that almost without exception, analytic philosophers are not interested -in their capacity as philosophers - in interpreting and understanding their historical present. Some possible reasons and some possible consequences of this lack of interest are examined briefly. Within the continental tradition itself, two major contemporary forms of 'an ontology of present reality' are distinguished, one exemplified by Habermas and the other by Foucault. The difference between these two forms of 'taking aim at the heart of the present' (to use Habermas' phrase) is explicated as a difference between distinct genres of critical discourse, or forms of critique. The difference is presented in respect to two major aspects: historical time and historicity, and critique's mode of engagement with 'an analytic of truth'. The last point, namely the presence of a crucial analytic moment in the philosophical interpretation of present reality, suggests a possible modification of the initial distinction between the two philosophical traditions.     

Methodology in aesthetics: the case of musical expressivity

A central method within analytic philosophy has been to construct thought experiments in order to subject philosophical theories to intuitive evaluation. According to a widely held view, philosophical intuitions provide an evidential basis for arguments against such theories, thus rendering the discussion rational. This method has been the predominant way to approach theories formulated as conditional or biconditional statements. In this paper, we examine selected theories of musical expressivity presented in such logical forms, analyzing the possibilities for constructing thought experiments against them. We will argue that philosophical intuitions are not available for the evaluation of the types of counterarguments that would need to be constructed. Instead, the evaluation of these theories, to the extent that it can succeed at all, will centrally rely on inferential, non-immediate access to our subjective musical experiences. Furthermore, attempted thought experiments lose their methodological function because no proper distinction can be drawn between the persons figuring in the thought-experimental scenario and the evaluator of the scenario. Consequently, some of the central contributions to what is generally understood to be analytic philosophy of art are shown to represent a form of aesthetic criticism, offering much less basis for rational argumentation than is often thought.     

Jazz and Musical Works: Hypnotized by the Wrong Model

It is difficult to place jazz within a philosophy of music dominated by the concepts and practices of classical music. One key puzzle concerns the nature and role, if any, of musical works in jazz. I briefly describe the debate between those who deny that there are musical works in jazz (Andrew Kania) and those who affirm that there are such (Julian Dodd and others), and I distinguish between claiming that there are no musical works in the jazz tradition and the more provocative claim that they are not performed in jazz performances. I argue that each side of this debate is partially right and that the first step toward resolving the puzzle is to reject inappropriate concepts of a musical work. In particular, Kania's and Lydia Goehr's accounts, derived from classical music practice, are rejected as general accounts of musical works. I then contrast the norms governing work performance in classical music (the werktreue ideal) with the practices governing performances of works in jazz, which I call realization or staging. Finally, I propose a model of jazz appreciation that incorporates a role for jazz works and that fundamentally differs from the way that classical musical performances are appreciated.     

Fictionalism about musical works

The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop a version of such an analysis in line with a broad commitment to philosophical naturalism.     

Was Wittgenstein an Analytic Philosopher?

Abstract: This article first surveys the established views on Wittgenstein's relation to analytic philosophy. Next it distinguishes among different ways of defining analytic philosophy—topical, doctrinal, methodological, stylistic, historical, and the idea that it is a family‐resemblance concept. It argues that while certain stylistic features are important, the historical and the family‐resemblance conceptions are the most auspicious, especially in combination. The answer to the title question is given in section 3. Contrary to currently popular “irrationalist” interpretations, Wittgenstein was an analytic philosopher in all phases of his career, albeit an exceedingly exotic one whose style transcends the limits of academic philosophy in general. On the historical understanding he qualifies because he was influenced by and in turn influenced mainly analytic philosophers. On the family‐resemblance conception he qualifies both because he developed and employed logico‐linguistic analysis and because he initiated the linguistic turn and the distinction between philosophy and science that characterizes one important strand in analytic philosophy.     

On the Concept of the Scale

The theory of linear arrays provides a definition of linear order from the reflexive, symmetric, but non-transitive relation of matching. However, a distance function is not generally available for the elements of a linear array. Given the original intended interpretation of the matching predicate as holding between phenomenal qualia, this result presents an apparent contradiction to the existence of human practices, specifically the tradition of musical practice described by common-practice music theory, that involve precise judgments of phenomenal distance. This paper resolves that seeming contradiction by constructing a notion of the musical scale out of the theory of linear arrays. First, the theory of linear arrays is briefly reviewed. Then, criteria of adequacy for the construction are adduced from common-practice music theory, the theory of measure and the semiotic theory of notation. The construction is presented along with results indicating its fulfillment of the criteria of adequacy. Finally, the relations between several variables introduced in the course of the construction are investigated.     

What is continental philosophy?

Abstract

This paper attempts to provide an account of what is philosophically distinctive about what has come to be known as ‘Continental philosophy’. In the early parts of the paper I give a historical and cultural analysis of the emergence of Continental philosophy and consider objections to the latter and some stereotypical representations of the analytic‐Continental divide.

In the philosophically more substantial part of the paper, I seek to redraw the distinction between analytic and Continental philosophy by focusing on a number of themes: (i) the centrality of tradition and history for Continental philosophy and the way this affects philosophical practices of argumentation and interpretation, (ii) the way in which the concept of Continental philosophy emerges out of the German idealist reception of the Kantian critique of metaphysics and the significant way this is continued in Nietzsche with his concept of nihilism, (iii) the centrality of the concepts of critique, emancipation and praxis for the Continental tradition, (iv) the importance of the theme of crisis that runs through the Continental tradition, (v) an explanation and justification of the pervasive anti‐scientism of the Continental tradition.

I conclude by explaining and criticizing the professionalization of philosophy that has produced the analytic‐Continental divide, insofar as this divide disguises a deeper possible debate about the identity of philosophy itself outside of its professional confines.     

Philosophy and Music

This essay explores some aspects of the relation between philosophy and music. First, how music can inspire philosophy; second, how philosophy can inspire music. Mathematics as a middle term between music and philosophy, the idea of wholeness in a musical composition or a philosophical text, music as a mode of thought displaying traits such as logic, coherence, and sense—these are some ways in which music and philosophy may be seen to be connected. Also, composers sometimes have explicit recourse to philosophical ideas in advancing their music, there being prominent examples of this in the twentieth century. Lastly, given there is such a thing as the philosophy of music, might there also be the music of philosophy?     

Emotional response to musical repetition

Two experiments examined the effects of repetition on listeners' emotional response to music. Listeners heard recordings of orchestral music that contained a large section repeated twice. The music had a symmetric phrase structure (same-length phrases) in Experiment 1 and an asymmetric phrase structure (different-length phrases) in Experiment 2, hypothesized to alter the predictability of sensitivity to musical repetition. Continuous measures of arousal and valence were compared across music that contained identical repetition, variation (related), or contrasting (unrelated) structure. Listeners' emotional arousal ratings differed most for contrasting music, moderately for variations, and least for repeating musical segments. A computational model for the detection of repeated musical segments was applied to the listeners' emotional responses. The model detected the locations of phrase boundaries from the emotional responses better than from performed tempo or physical intensity in both experiments. These findings indicate the importance of repetition in listeners' emotional response to music and in the perceptual segmentation of musical structure.     

Musical Thought in the Zhuangzi: A Criticism of the Confucian Discourse on Ritual and Music

Musical thought in the Chinese tradition is frequently discussed in terms of the Confucian discourse on “ritual and music (lǐyuè 禮樂),” but how this Confucian discourse has been viewed by its critics has seldom been addressed. This paper aims to explore musical thought in the Zhuangzi as a serious critique of Confucian musical discourse. Zhuangzian thinkers doubt whether Confucian ritual music can avoid restricting music within a specific musical tradition, impeding the freedom to enjoy music, and distorting the nature of music. Unlike Confucian discourse, which emphasizes music’s external effects, Zhuangzian musical thought ultimately leads us to focus on the essential questions: how to cultivate one’s own sensibility toward musical harmony, how to open one’s mind to comprehend different musical sources, and how to eventually reach musical Dao.     

On the Religious Foundations of A.F. Losev's Philosophy of Music

The article considers A.F. Losev's philosophy of music in the context ofhis entire religious worldview and as the part of hisChristian-Neoplatonic philosophy. Synthesizing Pythagorean-Platonic andRomantic musical doctrines, Losev concludes: music is the expression ofthe life of numbers, a meonic-hyletic element that rages inside numericconstructions. So it is necessary to analyse the concept of number inthe system of Neoplatonic thought. In the Neoplatonic hierarchy of theuniverse both numeric sphere and music are located at the source of allthe eidei, above them and between the One (the first hypostasis) and theWorld Intelligence (the second hypostasis). Then music is considered inthe context of the relation between the uncreated Absolute (Tetrade A)and the created world (Tetrade B). Losev's doctrine on the Tetrades Aand B (connected not by essence but by energies) is the importantmodification of Neoplatonism. Finally the article considers Losev'saccount of music in relation to the absolutized individual person.     

Kant's Musical Antiformalism

According to the orthodox view of Kant's philosophy of music, Kant is the founder of musical formalism, the view that music is pure, contentless form, and appreciated as such. On this orthodox view, Kant is an innovator in philosophy of music, though his views are confused and sometimes contradictory. Sometimes, we are told, Kant indicates that music is a fine art and sometimes that it is merely an agreeable art. None of the orthodox position is correct. Kant's views on music are familiar, even a little old fashioned for their time. His views are consistent. He believes that some music is fine art and that the fine arts are imitative arts. Imitative arts have content, and Kant believes that at least some music has content. Our views on Kant's philosophy of music ought to be thoroughly revised.     

What is Phenomenological Sociology Again?

In this paper, I seek to caution the increasing number of contemporary sociologists who are engaging with continental phenomenological sociology without looking at the Anglo-American tradition. I look at a particular debate that took place during the formative period in the Anglo-American tradition. My focus is on the way participants sought to negotiate the disciplinary division between philosophy and sociology. I outline various ways that these disciplinary exigencies, especially the institutional struggles with the sociological establishment, shaped how participants defined phenomenological sociology. I argue that despite the supposed theoretical, methodological, and substantial differences between these waves of phenomenological sociology, the contemporary wave could benefit from some of the lessons that were learned by their predecessors.     

Tonal hierarchies in the music of north India

Cross-culturally, most music is tonal in the sense that one particular tone, called the tonic, provides a focus around which the other tones are organized. The specific organizational structures around the tonic show considerable diversity. Previous studies of the perceptual response to Western tonal music have shown that listeners familiar with this musical tradition have internalized a great deal about its underlying organization. Krumhansl and Shepard (1979) developed a probe tone method for quantifying the perceived hierarchy of stability of tones. When applied to Western tonal contexts, the measured hierarchies were found to be consistent with music-theoretic accounts. In the present study, the probe tone method was used to quantify the perceived hierarchy of tones of North Indian music. Indian music is tonal and has many features in common with Western music. One of the most significant differences is that the primary means of expressing tonality in Indian music is through melody, whereas in Western music it is through harmony (the use of chords). Indian music is based on a standard set of melodic forms (called rags), which are themselves built on a large set of scales (thats). The tones within a rag are thought to be organized in a hierarchy of importance. Probe tone ratings were given by Indian and Western listeners in the context of 10 North Indian rags. These ratings confirmed the predicted hierarchical ordering. Both groups of listeners gave the highest ratings to the tonic and the fifth degree of the scale. These tones are considered by Indian music theorists to be structurally significant, as they are immovable tones around which the scale system is constructed, and they are sounded continuously in the drone. Relatively high ratings were also given to the vadi tone, which is designated for each rag and is given emphasis in the melody. The ratings of both groups of listeners generally reflected the pattern of tone durations in the musical contexts. This result suggests that the distribution of tones in music is a psychologically effective means of conveying the tonal hierarchy to listeners whether they are familiar with the musical tradition. Beyond this, only the Indian listeners were sensitive to the scales (thats) underlying the rags. For Indian listeners, multidimensional scaling of the correlations between the rating profiles recovered the theoretical representation of scales described by theorists of Indian music.(ABSTRACT TRUNCATED AT 400 WORDS)     

The ‘Divine Names’ and the ‘Attributes of Deity’: On the (Infinite) Analogical Interval in Forty-Six Aphorisms

For the modern tradition of analytic philosophy of religion (that this article rejects), goodness, beauty, wisdom, and so on are divine attributes, whereas, for the classical tradition of Christian theology, they are divine names. This crucial distinction between attributes and names helps to explain why feminist philosopher Grace Jantzen’s charge of an identification of the male self with the divine self in Anglo-American philosophy of religion leads on, directly, to a critique of the ‘doctrine’ of analogy. Jantzen’s critique of ‘classical theism’ is directed against the (largely modern) reduction of God to a (male) superbeing. Here, God’s ‘attributes’ are merely human ones, even if extended to a superlative degree. I distinguish the analogical reflections of Aquinas (following Dionysius) and his heirs from the anthropomorphic dissolutions of the divine in contemporary analytic philosophy of religion. Theology’s analogical speech, I argue, has the potential to answer – at least partially – the feminist critique of God as a ‘pure projection’ of ‘man’. For Aquinas, God’s perfections must be qualitatively different and not merely quantitative maximisations of our own. I contend that feminist philosophy of religion cannot afford to dismiss the potential of the way of analogy, especially in its negative or apophatic dimensions.     

Schönberg’s Judaism from Notes to Thought and from Thought to Notes

What concept of Judaism is present in Schönberg’s philosophy of music? It is impossible to separate the musical texture from his experience of reconciliation with Judaism, and his new idea of musical drama is a confirmation that the dodecaphonic structure of musical thinking connects with Schönberg’s idea of the Jewish ethical and religious point of view. A comparative analysis of some essays with some operas shows the internal tie between music and Judaism in dodecaphony.     

ÉTUDE INTERCULTURELLE DES PRÉFÉRENCES MUSICALES

The question of socio-cultural relativism or universalism in aesthetic judgment is dealt with in a cross-cultural study of musical preferences. Four groups of subjects were compared: Japanese expert musicians, French professional musicians, French students in music and French non-musician students. Their task was to state their preference for one of the elements in ten pairs of excerpts of traditional Japanese music, representing three levels of complexity (Koto, Trio, Gagaku). In addition, the subjects were asked to give a general appreciation of the three styles. The analysis of the preferences was performed in three ways: intra-group and inter-groups variabilities were computed as well as the variability due to the musical style. The results can be summarized as follows: as far as a group judgment is possible in one or another culture (intra-group agreement), the preferences of two culturally different groups do not contrast as long as the judgment concerns rather simple objects; the degree of inter-cultural agreement, far from increasing with musical competence, decreases. On the other hand, the judgments of more complex pieces show an agreement only in groups with musical skill and, in this case, the preference of Japanese and French musicians are contrasting. Finally, it is pointed out that a minimal attractiveness of the material presented is necessary to obtain from the subjects valid comparisons instead of artificial.     

Marginal Musical Spaces at St Aldates,Oxford

St Aldates is a large Charismatic Anglican church in the centre of Oxford. The music of the regular Sunday services stands within the tradition of Contemporary Worship Music and the musical leaders cultivate an intentional sense of consistency. Within this environment, individuals are often expected to set aside existing musical tastes and attachments, adopting an attitude of worship regardless of their relationship to the musical environment. Away from the Sunday services there are a number of more marginal musical spaces in which a wider range of musical forms find expression. In this article I draw on third-space theory and my own ethnographic fieldwork to explore the alternative musical dynamics which two such spaces open up and the different relationships which they enable between individuals’ diverse musical attachments and the musical life of the church. In line with divergent streams in the literature, I suggest that these spaces carry both productive and disruptive potential, both challenging and supporting prevailing musical norms.