Pub Date : 2018-12-30DOI: 10.17990/RPF/2018_74_4_1185
Ana Rosa Luz
In their works, Gilles Deleuze and Félix Guattari urge us to think, even if indirectly, in what way the theoretical-philosophical development could be applied to the composition and the exercise of musical listening. Thus, with a view to enhancing this association between music and philosophy, in this text we will try to define the greatest philosophical-musical concept created by both philosophers. Namely, the ritornello. So that through its chaotic, terrestrial and cosmic seams and textures, the notion of musical-existential devenir is built up. Notion, where the musical argument will reveal itself irrevocably presiding of a founding chaos or, as Deleuze appoints, a germ chaos.
{"title":"O Caos como Devir na Experiência Filosófico-musical em Deleuze e Guattari","authors":"Ana Rosa Luz","doi":"10.17990/RPF/2018_74_4_1185","DOIUrl":"https://doi.org/10.17990/RPF/2018_74_4_1185","url":null,"abstract":"In their works, Gilles Deleuze and Félix Guattari urge us to think, even if indirectly, in what way the theoretical-philosophical development could be applied to the composition and the exercise of musical listening. Thus, with a view to enhancing this association between music and philosophy, in this text we will try to define the greatest philosophical-musical concept created by both philosophers. Namely, the ritornello. So that through its chaotic, terrestrial and cosmic seams and textures, the notion of musical-existential devenir is built up. Notion, where the musical argument will reveal itself irrevocably presiding of a founding chaos or, as Deleuze appoints, a germ chaos.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"1 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83670721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-30DOI: 10.17990/RPF/2018_74_4_0911
Y. Espiña
{"title":"Presentation – Philosophy of Music","authors":"Y. Espiña","doi":"10.17990/RPF/2018_74_4_0911","DOIUrl":"https://doi.org/10.17990/RPF/2018_74_4_0911","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"192 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77762544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-30DOI: 10.17990/RPF/2018_74_4_0917
Jessica Wiskus
In the Phaedo – a dialogue investigating the immortality of the soul – Socrates compares himself to the swans of Apollo who sing “most beautifully” before they die. Working principally from the Phaedo (but also Timaeus, Parmenides, and Philebus), the aim of this article is to determine the relation between the song of the swan and the song of the philosopher. First, we examine the use of language in human song as a way to consider the other side of logos: logos not only as word but logos as ratio – i.e., as a relation between temporally-ordered terms. This ratio we then examine as the sense of before-and-afterness that Aristotle explores, in Physics IV, as the “number of movement” that is time; for, through the counting of this “number of movement” (accomplished by the soul), we begin to understand how swans (through song) and philosophers (through dialogue) share a temporal orientation toward what transcends the present moment. This temporal orientation, I argue, pertains to sempiternity, an ageless or undying [ἀθάνατος] movement of the soul. Thus, I conclude that philosophy as “the highest kind of music” (Phaedo) – like the song of the swans of Apollo – concerns itself with the undying state of the soul and, hence, with ethos.
{"title":"On Song, Logos, and the Movement of the Soul: After Plato and Aristotle","authors":"Jessica Wiskus","doi":"10.17990/RPF/2018_74_4_0917","DOIUrl":"https://doi.org/10.17990/RPF/2018_74_4_0917","url":null,"abstract":"In the Phaedo – a dialogue investigating the immortality of the soul – Socrates compares himself to the swans of Apollo who sing “most beautifully” before they die. Working principally from the Phaedo (but also Timaeus, Parmenides, and Philebus), the aim of this article is to determine the relation between the song of the swan and the song of the philosopher. First, we examine the use of language in human song as a way to consider the other side of logos: logos not only as word but logos as ratio – i.e., as a relation between temporally-ordered terms. This ratio we then examine as the sense of before-and-afterness that Aristotle explores, in Physics IV, as the “number of movement” that is time; for, through the counting of this “number of movement” (accomplished by the soul), we begin to understand how swans (through song) and philosophers (through dialogue) share a temporal orientation toward what transcends the present moment. This temporal orientation, I argue, pertains to sempiternity, an ageless or undying [ἀθάνατος] movement of the soul. Thus, I conclude that philosophy as “the highest kind of music” (Phaedo) – like the song of the swans of Apollo – concerns itself with the undying state of the soul and, hence, with ethos.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"57 2 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83391195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-30DOI: 10.17990/RPF/2018_74_4_1117
J. Beato
The philosophical work of Vladimir Jankélévitch lives on a narrow interweaving of metaphysics, morals and aesthetics. The metaphysical concepts he created and mobilized, as well as his method – which combines “paradoxology” and “mysteriology” – are find in the treatment of musical questions, as already are seen in action in his ethics. Amateur but dedicated pianist, Jankélévitch also possessed high musicological skills. Thus, in addition to monographic studies and essays on modern composers such as Ravel, Debussy, Fauré, among others, he left us elements of a philosophy of music in La musique et l’ineffable (1961). The present article aims to present some of the fundamental themes of this connection between philosophy and musical experience. Fundamentally, music allows listening to the “irreversible”: a way of experiencing the essence of time, articulating lived time and the time of cosmos in a “stylized time” that ultimately is a great instant between two liminal and fecund silences.
{"title":"A Escuta do Irreversível: Filosofia e Música em Vladimir Jankélévitch","authors":"J. Beato","doi":"10.17990/RPF/2018_74_4_1117","DOIUrl":"https://doi.org/10.17990/RPF/2018_74_4_1117","url":null,"abstract":"The philosophical work of Vladimir Jankélévitch lives on a narrow interweaving of metaphysics, morals and aesthetics. The metaphysical concepts he created and mobilized, as well as his method – which combines “paradoxology” and “mysteriology” – are find in the treatment of musical questions, as already are seen in action in his ethics. Amateur but dedicated pianist, Jankélévitch also possessed high musicological skills. Thus, in addition to monographic studies and essays on modern composers such as Ravel, Debussy, Fauré, among others, he left us elements of a philosophy of music in La musique et l’ineffable (1961). The present article aims to present some of the fundamental themes of this connection between philosophy and musical experience. Fundamentally, music allows listening to the “irreversible”: a way of experiencing the essence of time, articulating lived time and the time of cosmos in a “stylized time” that ultimately is a great instant between two liminal and fecund silences.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"22 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78187224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-30DOI: 10.17990/rpf/2018_74_4_1093
R. Siu
Despite increasing application of Merleau-Ponty’s phenomenology of the body in areas like music education, there remains little philosophical scholarship on music’s role in his philosophy. This is partly because Merleau-Ponty does not write about music in an explicit manner. However, he does open the possibility for such an account via his unconventional yet highly suggestive claim that language and music are both equally “creative” forms of expression. This paper draws out that link between musical and linguistic expression by expounding what Merleau-Ponty views as their shared basis – the corporeal, affective, and transformative dimension of all expression. It locates the core of this expressivity in his rich conception of “silence.” More generally, the analysis reveals how, despite the lack of explicit discussion of music in Merleau-Ponty’s philosophy, when viewed in light of his insights into language and expression, music does feature implicitly in his early and more mature works, being intertwined with his notions of “style,” “gesture” and “flesh” as well as his general critiques of intellectualism and empiricism.
{"title":"Expression and Silence: Music and Language in Merleau-Ponty’s Existential Phenomenology","authors":"R. Siu","doi":"10.17990/rpf/2018_74_4_1093","DOIUrl":"https://doi.org/10.17990/rpf/2018_74_4_1093","url":null,"abstract":"Despite increasing application of Merleau-Ponty’s phenomenology of the body in areas like music education, there remains little philosophical scholarship on music’s role in his philosophy. This is partly because Merleau-Ponty does not write about music in an explicit manner. However, he does open the possibility for such an account via his unconventional yet highly suggestive claim that language and music are both equally “creative” forms of expression. This paper draws out that link between musical and linguistic expression by expounding what Merleau-Ponty views as their shared basis – the corporeal, affective, and transformative dimension of all expression. It locates the core of this expressivity in his rich conception of “silence.” More generally, the analysis reveals how, despite the lack of explicit discussion of music in Merleau-Ponty’s philosophy, when viewed in light of his insights into language and expression, music does feature implicitly in his early and more mature works, being intertwined with his notions of “style,” “gesture” and “flesh” as well as his general critiques of intellectualism and empiricism.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"1 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75580035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-30DOI: 10.17990/rpf/2018_74_4_1077
S. Oliva
In spite of its limited influence on Italian Aesthetics, Luigi Pareyson’s Aesthetics. Theory of formativity is often cited in the contemporary debate about Aesthetic of music. In this paper I will present the context and reception of Pareyson’s theory of formativity, one of the main post-Crocian aesthetic theories. Then, I will introduce some of the key concepts of Pareyson’s Aesthetics as person, form and interpretation; at last, I will show the relevance of these concepts for issues such as: musical gesture, improvisation, written and not written music, musical ontology. Although these terms are rooted in Pareyson’s existentialist and hermeneutic background, quite far from contemporary philosophy of music, they seem to offer valuable tools to think the musical experience as a dynamic process, as an activity which «while it is doing, invents the way of doing».
{"title":"Risonanze della Teoria della Formatività di Luigi Pareyson nell’Estetica Musicale Contemporanea","authors":"S. Oliva","doi":"10.17990/rpf/2018_74_4_1077","DOIUrl":"https://doi.org/10.17990/rpf/2018_74_4_1077","url":null,"abstract":"In spite of its limited influence on Italian Aesthetics, Luigi Pareyson’s Aesthetics. Theory of formativity is often cited in the contemporary debate about Aesthetic of music. In this paper I will present the context and reception of Pareyson’s theory of formativity, one of the main post-Crocian aesthetic theories. Then, I will introduce some of the key concepts of Pareyson’s Aesthetics as person, form and interpretation; at last, I will show the relevance of these concepts for issues such as: musical gesture, improvisation, written and not written music, musical ontology. Although these terms are rooted in Pareyson’s existentialist and hermeneutic background, quite far from contemporary philosophy of music, they seem to offer valuable tools to think the musical experience as a dynamic process, as an activity which «while it is doing, invents the way of doing».","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"379 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74254722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-30DOI: 10.17990/rpf/2018_74_4_1267
Nemesio García-Carril Puy
I defend in this paper the thesis that there is a complex relation between minimalist musical works and the metaphysics of time, involving ontological, epistemological and axiological issues. This relation is explained by means of three sub-theses. The first one is that minimalist musical works literally exemplify –in Goodman’s sense– the properties ascribed to time by the metaphysical static view: 1) minimalist works intrinsically possess those properties by being composed according to the technique of minimal repetition; 2) they extrinsically refer to those properties in virtue of pragmatic processes of accommodation of disagreements on what is taken to be common ground in a particular musical context. The second sub-thesis is that, in exemplifying those properties, minimalist musical works are valuable from two perspectives: a formalist one, according to which minimalist works purify the concept of what a musical work is; and a cognitive one, insofar they allow us to obtain phenomenal knowledge of what it is like to experience time as the static view conceives it. The third sub-thesis is that each particular minimalist musical work is valuable insofar it achieves either the formalist or the cognitive goals in an original way.
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Pub Date : 2018-12-30DOI: 10.17990/RPF/2018_74_4_1399
J. Friedman
This essay investigates an established question in the philosophy of music: whether, and in what respect, music may express narratives. However, this essay departs in two essential respects from traditional treatments of the question. First, the jazz tradition instead of European art music is used as the primary source material. Second, instead of merely posing the question of whether music can harbor a narrative, this essay is oriented by what it argues is a common experience of “narrative flavor” in music – the feeling of having heard a story in non-representational sound. The essay seeks to account for the experiential givenness of “narrative flavor” with the assistance of contemporary philosophical work on narrative and musicological work on improvisation and musical motion. Working with a minimalist definition of narrative that requires (1) the representation of two or more events that are (2) temporally ordered and (3) causally connected, music is found to be able to satisfy the second and third conditions. However, the questionable representation capacities of music lead to the conclusion that music cannot, in the strict sense, harbor a narrative. The experience of narrative flavor is explained with reference to J. David Velleman’s concept of emotional cadence, Brian Harker’s work on structural coherence in improvisation, and Patrick Shove and Bruno Repp’s work on the perception of musical motion. These sources are utilized to demonstrate that improvisations can be structured so as to give the listener the impression of having heard a story by initiating and carrying out an emotional cadence.
本文研究了音乐哲学中的一个既定问题:音乐是否以及在什么方面可以表达叙事。然而，这篇文章在两个重要方面偏离了传统的处理问题。首先，爵士乐传统代替欧洲艺术音乐被用作主要的来源材料。其次，这篇文章不是简单地提出音乐是否可以承载叙事的问题，而是以它所认为的音乐中“叙事味道”的共同体验为导向——用非代表性的声音听故事的感觉。本文试图借助当代关于叙事的哲学工作和关于即兴创作和音乐运动的音乐学工作来解释“叙事风味”的经验赋予性。从叙事的极简定义来看，即要求(1)呈现两个或多个事件(2)时间顺序和(3)因果联系，音乐能够满足第二和第三个条件。然而，令人质疑的音乐表现能力导致结论，音乐不能，在严格意义上，避风港的叙述。叙述风格的体验可以参考J. David Velleman关于情感节奏的概念、Brian Harker关于即兴创作结构连贯性的研究以及Patrick prop和Bruno Repp关于音乐动作感知的研究来解释。这些资料被用来证明即兴创作可以结构化，从而通过启动和执行情感节奏给听众留下听过故事的印象。
{"title":"On Narrativity and Narrative Flavor in Jazz Improvisation","authors":"J. Friedman","doi":"10.17990/RPF/2018_74_4_1399","DOIUrl":"https://doi.org/10.17990/RPF/2018_74_4_1399","url":null,"abstract":"This essay investigates an established question in the philosophy of music: whether, and in what respect, music may express narratives. However, this essay departs in two essential respects from traditional treatments of the question. First, the jazz tradition instead of European art music is used as the primary source material. Second, instead of merely posing the question of whether music can harbor a narrative, this essay is oriented by what it argues is a common experience of “narrative flavor” in music – the feeling of having heard a story in non-representational sound. The essay seeks to account for the experiential givenness of “narrative flavor” with the assistance of contemporary philosophical work on narrative and musicological work on improvisation and musical motion. Working with a minimalist definition of narrative that requires (1) the representation of two or more events that are (2) temporally ordered and (3) causally connected, music is found to be able to satisfy the second and third conditions. However, the questionable representation capacities of music lead to the conclusion that music cannot, in the strict sense, harbor a narrative. The experience of narrative flavor is explained with reference to J. David Velleman’s concept of emotional cadence, Brian Harker’s work on structural coherence in improvisation, and Patrick Shove and Bruno Repp’s work on the perception of musical motion. These sources are utilized to demonstrate that improvisations can be structured so as to give the listener the impression of having heard a story by initiating and carrying out an emotional cadence.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"9 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81858675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-30DOI: 10.17990/rpf/2018_74_4_0957
Pier Alberto Porceddu Cilione
This article examines the conceptual relationship between the notion of dynamics in music and the idea of dynamics as “power” and “potentiality” in metaphysics. What is implicit in both notions is the idea of “force”, as configured in a philosophical tradition from Aristotle to Nietzsche, Heidegger and Deleuze. It is no coincidence that the system of signs that, in music, indicates the intensity of sound, its strength and its expression, takes its name from this philosophical concept. What follows tries to understand in which sense the term dynamics, as a theory of force and potentiality, steps into the field of music. The Aristotelian concept of dynamis, Leibniz’s theory of vis activa and the Nietzschean “Will to Power” reveal their profound meaning when related to the specific dynamic ontology realized by music. Two contemporary musical examples, taken from flute works by Sciarrino and Hosokawa, show with particular evidence how to understand a metaphysical idea of musical dynamics.
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Pub Date : 2018-12-30DOI: 10.17990/rpf/2018_74_4_1527
Enrico Fubini
{"title":"Esecuzione e interpretazione: la vita dell’opera musicale attraverso il tempo","authors":"Enrico Fubini","doi":"10.17990/rpf/2018_74_4_1527","DOIUrl":"https://doi.org/10.17990/rpf/2018_74_4_1527","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"44 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91272478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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