Performer, Persona, and the Evaluation of Musical Performance

Engaging with recent ideas about the moral evaluation of art, I argue that facts about the lifestyle, attitudes, and moral character of music performers are relevant to evaluating a musical performance. When it contributes to a better understanding of the performance, this knowledge contributes to a more accurate estimation of its aesthetic merits and flaws. I explain how my view departs from those of Berys Gaut and Jeanette Bicknell

« Écouter avec les yeux » : sur quelques problèmes de l’intertextualité radicale

Tout produit culturel implique des prédécesseurs et des influences, et la musique populaire ne déroge pas à cette règle. Dans le cas du rock, le sens d’un disque ou d’une chanson ne dépend donc pas moins de l’intertextualité que dans celui de tout autre cas de communication signifiante. Cet article soutient qu’il faut refuser la position radicale selon laquelle tout lien intertextuel est d’égale importance. Si cela était vrai, alors l’expérience consistant à écouter de la musique n’aurait plus qu’une importance limitée pour en déterminer la signification. L’auteur défend une version moins radicale de l’intertextualité : prenant le rock comme exemple de musique populaire, il montre que cette version moins radicale rend mieux compte de la raison pour laquelle les amateurs de rock écoutent cette musique.Every cultural product has antecedents and influences, and popular music is no exception. Consequently, the meaning of a rock song or recording is no less intertextual than any other meaningful communication. This paper argues that we should resist the radical conclusion that every intertextual link is of equal importance, for if that is the case then the experience of listening to music is of limited relevance to its meaning. Focusing on rock music as an example of popular music, the paper argues that a less radical intertextuality makes better sense of why fans listen to rock music

Siegel on Competency Testing and Critical Thinking

Harvey Siegel argues that minimum competency testing (MCT) is incompatible with strong sense critical thinking. His arguments are reviewed and contrasted with positions held by John E. McPeck and Michael Scriven. Siegel's arguments seem directed against the prevailing form of MCT. However, alternative formats which allow for the aggregate and context-sensitive nature of critical thinking are not doomed to the arbitrariness Siegel finds. MCT may be a legitimate and useful means for furthering critical thinking as one of our educational ideals

Listening With their Eyes: Problems for Radical Intertextuality

Tout produit culturel implique des prédécesseurs et des influences, et la musique populaire ne déroge pas à cette règle. Dans le cas du rock, le sens d’un disque ou d’une chanson ne dépend donc pas moins de l’intertextualité que dans celui de tout autre cas de communication signifiante. Cet article soutient qu’il faut refuser la position radicale selon laquelle tout lien intertextuel est d’égale importance. Si cela était vrai, alors l’expérience consistant à écouter de la musique n’aurait plus qu’une importance limitée pour en déterminer la signification. L’auteur défend une version moins radicale de l’intertextualité : prenant le rock comme exemple de musique populaire, il montre que cette version moins radicale rend mieux compte de la raison pour laquelle les amateurs de rock écoutent cette musique.Every cultural product has antecedents and influences, and popular music is no exception. Consequently, the meaning of a rock song or recording is no less intertextual than any other meaningful communication. This paper argues that we should resist the radical conclusion that every intertextual link is of equal importance, for if that is the case then the experience of listening to music is of limited relevance to its meaning. Focusing on rock music as an example of popular music, the paper argues that a less radical intertextuality makes better sense of why fans listen to rock music

The Routledge Companion to Philosophy and Music

The Routledge Companion to Philosophy and Music is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of music music, philosophy and related disciplineshttps://digitalcommons.trinity.edu/mono/1036/thumbnail.jp

Performances and Recordings

The most common musical experience today, across most of the globe, is that of listening to a recording. For many centuries, however, music was only experienced live, since recording technology did not exist. As a result, much of the philosophy of music is rooted in the idea that music is a performance art, and recordings have been met with some skepticism (when they have been discussed at all). In this chapter, we investigate the nature of musical performances and recordings, and compare views about their respective values