Paul Boghossian

The core idea seems clear enough. To say of something that it is socially constructed is to emphasize its dependence on contingent aspects of our social selves. It is to say: This thing could not have existed had we not built it; and we need not have built it at all, at least not in its present form. Had we been a different kind of society, had we had different needs, values, or interests, we might well have built a different kind of thing, or built this one differently. The inevitable contrast is with a naturally existing object, something that exists independently of us and which we did not have a hand in shaping.

The fact that we can hear a particular passage of music as expressing a “tranquil gratitude” is a central aspect of the phenomenology of musical experience; without it we would be hard pressed to explain how purely instrumental music could move us in the way that it does. The trouble, here as so often elsewhere in philosophy, is that what seems necessary also seems impossible: for how could a mere series of nonlinguistic sounds, however lovely, express a state of mind? One of the central tasks of the philosophy of music is to remove this mystery....