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1. the intentional-historical conception of artIn Eric Margolis & Stephen Laurence (eds.), Creations of the Mind: Theories of Artifacts and Their Representaion, Oxford University Press. pp. 74. 2007.
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74Music-Specific Emotion: An Elusive QuarryEstetika: The European Journal of Aesthetics 53 (2): 115-131. 2016.Expressive music, almost everyone agrees, evokes an emotional response of some kind in receptive listeners, at least some of the time, in at least some conditions of listening. But is such an emotional response distinctive of or unique to the music that evokes it? In other words, is there such a thing as music-specific emotion? This essay is devoted to an exploration of that question and others related to it. In the main part of the essay a sixpart component model of a standard emotion is set ou…Read more
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3Sound, gesture, spatial imagination, and the expression of emotion in musicEuropean Review of Philosophy 5 137-150. 2002.
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174Music, Art, and MetaphysicsOxford University Press. 2011.This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.
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12Response: A Thousand Entities: Comments on Haugeland’s ‘Ontological Supervenience’Southern Journal of Philosophy 22 (S1): 93-110. 1984.
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54Concatenationism, Architectonicism, and the Appreciation of MusicRevue Internationale de Philosophie 4 (4): 505-514. 2006.
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13What a Musical Work Is, AgainIn Music, Art, and Metaphysics, Oxford University Press. pp. 215-263. 2011.
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3A Note on Categorical Properties and Contingent IdentityJournal of Philosophy 85 (12): 718-722. 1988.
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114The Aesthetic Appreciation of MusicBritish Journal of Aesthetics 49 (4): 415-425. 2009.This essay offers a sketch of what aesthetic appreciation of music fundamentally consists in, underlining both why such engagement counts as aesthetic and why such engagement counts as appreciation, and emphasizing the role of perception of gesture in the grasp of musical expressiveness. The analysis is illustrated by a piece of chamber music of Gabriel Fauré. In the last section of the essay I address some remarks of Roger Scruton on the connection between music and dance, ones whose relevance …Read more
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2Eduard Hanslick, On the Musically Beautiful, trans. Geoffrey Payzant Reviewed byPhilosophy in Review 7 (10): 405-408. 1987.
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44Making BelieveDialogue 32 (2): 359-. 1993.Kendall Walton's Mimesis as Make-Believe is the most significant event in Anglo-American aesthetics in many a year, and joins a small pantheon of landmark books such as Nelson Goodman's Languages of Art, Richard Wollheim's Art and Its Objects and Arthur Danto's Transfiguration of the Commonplace. Walton's aim is to provide a comprehensive account of the representational arts—literature, drama, cinema, painting, drawing, sculpture—from both the generative and the receptive points of view. That is…Read more
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60Reply to Nicholas Riggle's “Levinson on the Aesthetic Ideal”Journal of Aesthetics and Art Criticism 71 (3): 281-282. 2013.
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20L’appréciation esthétique de la musiqueNouvelle Revue d'Esthétique 15 (1): 135-147. 2015.Cet essai propose une esquisse de ce en quoi consiste fondamentalement l’appréciation esthétique de la musique, soulignant à la fois pourquoi un tel engagement compte comme esthétique et pourquoi il compte comme appréciation, et mettant en avant le rôle de la perception du geste dans la saisie de l’expressivité musicale. L’analyse est illustrée par une pièce de musique de chambre de Gabriel Fauré. Dans la dernière section, je fais écho à quelques remarques de Roger Scruton sur la connexion entre…Read more
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7Intention and interpretation: A last lookIn Gary Iseminger (ed.), Intention and interpretation, Temple University Press. pp. 221--56. 1992.