Philosophy of Western music : a contemporary introduction

Cover
Endorsements
Half Title
Series Page
Title Page
Copyright Page
Dedication
Table of Contents
List of Examples and Figure
Preface
Acknowledgements
1. Song and the Medium of Music
	Overview
	1.1 Are Songs Literature?
	1.2 Philosophy of Music
	1.3 Are Songs Music?
		1.3.1 What’s in a Name? Songs and (Pure) Music
		1.3.2 Artistic Categories and Artistic Media
		1.3.3 The Medium, or Media, of Song
	1.4 Review and Looking Ahead
	Questions
	Notes
	Further Reading
2. Emotions in the Music
	Overview
	2.1 Expressionism
	2.2 Arousalism
	2.3 Eliminativism
	2.4 Resemblance Theories
		2.4.1 Interlude on Emotions
		2.4.2 Back to Resemblance Theories
		2.4.3 Expression and Expressiveness
		2.4.4 Resemblance and Experience
		2.4.5 Conventionalism
	2.5 Imagination Theories
	2.6 Comparing Resemblance and Imagination Theories
		2.6.1 Constraints on Experienced Resemblance and Imagined Expression
		2.6.2 The Range of Music’s Expressiveness
		2.6.3 Expressiveness and the Medium of Music
	Questions
	Notes
	Further Reading
3. Emotions in the Listener
	Overview
	3.1 Uncontroversial Emotional Responses to Music
	3.2 Emotional Responses to Music’s Expressiveness
		3.2.1 The Puzzle
		3.2.2 Emotional Contagion
		3.2.3 Emotional Responses to Imaginings
			3.2.3.1 Waltonian Theories
			3.2.3.2 Realist Theories
		3.2.4 Comparing the Theories
	3.3 Robinson’s Sophisticated Expressionism
		3.3.1 Emotional Response and Appreciation
		3.3.2 Music as Romantic Expression
	Questions
	Notes
	Further Reading
4. Musical Understanding
	Overview
	4.1 Pitch
		4.1.1 Frequency and Pitch
		4.1.2 Pitch Space and Movement
	4.2 Rhythm
	4.3 Harmony
	4.4 Music as Language
	4.5 Form
	4.6 Analysis
		4.6.1 The Nature of Analysis
		4.6.2 The Necessity of Analysis
	Questions
	Notes
	Further Reading
5. The Value of Music
	Overview
	5.1 General Issues about Musical Value
		5.1.1 Intrinsic, Instrumental, and Inherent Value
		5.1.2 Monism and Pluralism about Musical Value
		5.1.3 Subjective, Objective, and Intersubjective Value
	5.2 The Value of Musical Emotions
		5.2.1 The Value of Emotions in the Music
		5.2.2 The Value of Emotions in the Listener
		5.2.3 The Puzzle of Negative Emotional Responses to Music
		5.2.4 Resistance to the Affective Value of Music
	5.3 The Value of Formal and Basic-Musical Features
		5.3.1 The Value of Musical Content and Form
		5.3.2 The Value of Music’s Abstractness
	5.4 Review and Looking Ahead
	Questions
	Notes
	Further Reading
6. Performance
	Overview
	6.1 What Is a Musical Performance?
	6.2 Music-Making without Performance
	6.3 Performances of Musical Works
		6.3.1 Sonicism vs. Contextualism I: An Introduction
		6.3.2 Platonism vs. Materialism
		6.3.3 Sonicism vs. Contextualism II: Aesthetic and Artistic Properties
	6.4 Looking Ahead
	Questions
	Notes
	Further Reading
7. Authenticity
	Overview
	7.1 Works, Scores, and Performances
	7.2 Concepts of Authenticity
	7.3 Pure Sonicism, Timbral Sonicism, and Instrumentalism
	7.4 Score-compliance Authenticity and Interpretive Authenticity
	7.5 Personal Authenticity in Popular Music
	7.6 Review and Looking Ahead
	Questions
	Notes
	Further Reading
8. Improvisation
	Overview
	8.1 What Is Improvisation?
	8.2 The Ontology of Jazz
	8.3 The Values of Jazz
	8.4 Review and Looking Ahead
	Questions
	Notes
	Further Reading
9. Recordings
	Overview
	9.1 Transparency and Jazz Recordings
	9.2 Studio Technology and Classical Recordings
	9.3 Constructed Tracks and Rock Recordings
	9.4 Covers
	9.5 The Comparative Value of Live and Recorded Music
	9.6 Review and Looking Ahead
	Questions
	Notes
	Further Reading
10. Music and Morality
	Overview
	10.1 Are Moral Flaws Artistic Flaws?
	10.2 Can Singing along Be Immoral?
	10.3 Does Instrumental Classical Music Oppress Women?
	10.4 Can White People Sing the Blues?
		10.4.1 The Proprietary Argument
		10.4.2 The Experiential-Access Argument
		10.4.3 The Moral-Deference Argument
		10.4.4 The Cultural-Intimacy Argument
		10.4.5 Swamping and Dilution Arguments
		10.4.6 Conclusions: Black, White, and Blues
	10.5 Conclusions: Music and Morality
	Questions
	Notes
	Further Reading
11. The Definition of Music
	Overview
	11.1 Definitions
	11.2 The Art of Sound? Music, Silence, and Deafness
		11.2.1 Music and Silence
		11.2.2 Music and Deafness
	11.3 The Art of Sound? Music, Language, and Sound Art
		11.3.1 Pitch, Tonality, and Language
		11.3.2 Rhythm, Meter, and “Temporal Organization”
	11.4 The Art of Sound? Music and Art
	11.5 Beyond Necessary and Sufficient Conditions
		11.5.1 Prototype and Portmanteau Theories of Music
		11.5.2 The Methodology of Defining Music
	11.6 Conclusion
	Questions
	Notes
	Further Reading
Bibliography
Index