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21Popular Song as Moral Microcosm: Life Lessons from Jazz StandardsRoyal Institute of Philosophy Supplement 71 51-66. 2012.In a recent paper devoted to my topic, music and morality, my fellow philosopher of music Peter Kivy makes a helpful tripartite distinction among ways in which music could be said to have moral force. The first is by embodying and conveying moral insight; Kivy labels that epistemic moral force. The second is by having a positive moral effect on behavior; Kivy labels that behavioral moral force. And the third is by impacting positively on character so as to make someone a better human being; Kivy…Read more
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14Why There Are No TropesPhilosophy 81 (4): 563-580. 2006.This paper effectively inverts the argument of an earlier paper of mine, “The Particularisation of Attributes”, to argue that there are no necessarily particularised and unshareable attributes of the sort that contemporary metaphysics calls tropes. In that earlier paper I distinguished two kinds of attributes, namely, properties and qualities, and argued that if there were tropes they could only be particularised qualities, i.e. particularisations of, say, redness, rather than particularisations…Read more
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27L’instrument de musique : réflexions sur le geste, l’écoute et la créationMethodos 11. 2011.Le son musical est vibration, et dépend des instruments utilisés. Être fidèle aux instruments prévus par le compositeur ne répond pas à un simple souci d’authenticité. Notre écoute de l’œuvre musicale dépend des gestes instrumentaux pratiqués par les musiciens (gestes que nous voyons au concert, ou que nous supposons si la musique est enregistrée). Les gestes proprement musicaux (liés à l’expressivité de la musique) sont fonction des gestes effectifs pratiqués par l’instrumentiste. Chaque instru…Read more
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1Aesthetic Properties, Evaluative Force, and Differences of SensibilityIn Emily Brady & Jerrold Levinson (eds.), Aesthetic concepts: essays after Sibley, Oxford University Press. pp. 61--80. 2001.
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64The real problem sustained: Reply to WieandJournal of Aesthetics and Art Criticism 61 (4). 2003.
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28Indication, abstraction, and individuationIn Christy Mag Uidhir (ed.), Art & Abstract Objects, Oxford University Press. pp. 49. 2013.
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Plaisanteries immoralesNouvelle Revue d'Esthétique 6 (2): 143-150. 2010.Résumé Pouvons-nous trouver une plaisanterie raciste ou sexiste à la fois drôle et moralement condamnable? Certains répondent « non », soit en tentant de montrer que l’immoralité disparaît dans le contexte de la plaisanterie, soit en soutenant que de telles plaisanteries ne sont pas réellement drôles ou ne devraient pas être trouvées telles. L’article soutient au contraire que oui! Et c’est de la mauvaise foi que de ne pas le reconnaître. La question est alors de savoir si leur immoralité nuit à…Read more
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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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3Sound, gesture, spatial imagination, and the expression of emotion in musicEuropean Review of Philosophy 5 137-150. 2002.
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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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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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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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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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