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Essay imaginary in museum music musical philosophy works


essay imaginary in museum music musical philosophy works

be as multifarious as the imaginative experiences people have at performances with that name, and (ii) it makes the medium of the work irrelevant to an understanding. For an investigation of authenticity with respect to things other than instantiation of the work, see Kivy 1995, Gracyk 2001, and Bicknell 2015. Apart from debate over which of these proposals most closely matches our experience, there is the question of how well each of them fits with the various solutions discussed above to the problem of our negative responses to music, and with empirical work on the. Since Daviess theory posits at base a contour-recognition experience while Levinsons posits an imaginative experience of expression, the link between literal expression and musical expressiveness looks closer in Levinsons theory than in Daviess. Understanding Music A central topic in the understanding of paradigmatically representational art forms, such as literature and film, is what constitutes an acceptable interpretation of a work. The appeal to secondary literal meanings, however, can seem as unsatisfying as the appeal to irreducible metaphor. Like the questions about musical expressiveness and understanding considered above, this puzzle is most evident with respect to pure instrumental music, though solutions to it may be applicable to the purely musical aspects of impure musical works such as songs. Expression is something persons do, namely, the outward manifestation of their emotional states. Lakoff., Johnson. Davies 1994: 31120; Goldman 1995: 68; Robinson 2005: 34878). One might simply deny that we respond emotionally to music.

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He objects, however, that such an account cannot be the whole, or even the most fundamental part of the story (Levinson 1996a, 2006b). Davies 1994: 2756.) Stephen Davies (1987: 20712) has argued that there are beneficial consequences of an interest in music in general, such as heightened emotional and aural sensitivity, which are not properly valued as consequences of listening to individual pieces, but which lead. Some have argued that there is not as significant a distinction between improvisation and composition as is usually thought (Alperson 1984). These issues are thrown into sharp relief in the debate over how instrumental musical works could be profound (Kivy 1990: 20218; 2003;. Musical ekphrasis: composer's reaction to poetry and painting. Davies 1994: 279307; 2006: 1868). The latter disjunct allows for two indiscernible works, neither of which strictly possesses basic musical features, yet one of which is music and the other sound art because of the complex way in which the former is intended to be approached. Musical meaning: toward a critical history. In response, we may consider not only the possibility that we are in a better position to appreciate historical works than contemporary ones, but also the remarkable flexibility people seem to show in enjoying many different kinds of music from throughout history and the world.

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