Georges Rey

The central point of Raffman’s discussion is to distinguish the perception, knowledge, and effability of the standard chromatic “categorical” pitch events from what she calls “nuance” pitch events—events whose individuation is more fine-grained than C-events, and which seem to resist reliable, psychologically available categorization. Thus, two pitches a quarter-tone apart may be classified as the same C-event, even though they are different N-events. Experimental evidence suggests that whereas people are quite good at recall and discrimination of C-events, they are considerably poorer with respect to N-events, and this, according to Raffman, is due to the availability of “schemas,” or conceptual “cubby-holes,” in the former but not the latter case. But this is not to say that people aren’t aware of N-events: a good deal of musical pleasure turns on appreciation of such N-events as vibrato, slides, and pitch coloration. The point is merely that “it is overwhelmingly unlikely that we have, or could have, interval schemas as fine-grained as the N-pitches and N-intervals we can hear”.

Fodor and LePore's attack on conceptual role semantics relies on Quine's attack on the traditional analytic/synthetic and a priori/a posteriori distinctions, which in turn consists of four arguments: an attack on truth by convention; an appeal to revisability; a claim of confirmation holism; and a charge of explanatory vacuity. Once the different merits of these arguments are sorted out, their proper target can be seen to be not the Traditional Distinctions, but an implicit assumption about their superficial availability that we have abundant reason to reject. Once we reject it, we can see how issues of the absorbtion of conventions, the revisability of belief, and confirmation holism are compatible with the Traditional Distinctions, and that Quine's discussion only serves to camouflage the question of whether some confirmation relations are constitutive of meaning and knowable a priori