ࡱ> []Z!` bjbj\\ .&>>@ @ @ @ T t t t t t t t t $Eh4? t t ? ? 4t t I? jt t ? t h `ѽ@ R_0i ii\t 0  l" t t t 44 t t t ? ? ? ? < <   Jerrold Levinson On the Concept of Music 1990  Jerrold Levinson is Professor of Philosophy at the University of Maryland and Past President of the American Society for Aesthetics. He has been visiting professor at Johns Hopkins University, Columbia University, University of London, University of Canterbury, Universit de Rennes, and the Conservatorio della Svizzera Italiana. Levinson is the author of Music, Art, and Metaphysics, The Pleasures of Aesthetics, Music in the Moment and also editor of Aesthetics and Ethics and The Oxford Handbook of Aesthetics. What is music? distinguish this question from: what kind of thing a piece of music is: its ontological or metaphysical category how we recognize something to be music: this is a psychological question asking for typical features of music what makes a piece of music good, great, or better: this is an evaluative question definition #1: music is organized sound this is hardly sufficient: a jackhammer etc. #1A: can change to humanly produced sound, outcome of intentional activity but perhaps roars and chirps should be excluded for another reason: i.e. because they do not fit the purpose of music (more later) definition #2 add that it must have melody, rhythm, and harmony but there is much music that lacks each of these definition #3 organizations of sounds by humans that affect the emotions, or express the emotions of the creators [the second would be a Collingwood-type definition] but the roar of the lion evokes emotions more strongly and the orators speech may express emotions as much as music and some music seems neither to express nor stimulate individual human emotions: instead it is an abstract configuration of sounds in motion, or an expression of some non-individual or non-human aspect: Javanese gamelan, Bach expression of ideas also would be too broad for it would include Morse code messages the preliminary definition lacks some general notion of aim or purpose of humanly organized sound so, definition #4: [since music is an art and the arts are [often?] for aesthetic appreciation] humanly organized sound for the purpose of aesthetic appreciation but much music seems not aimed to (distanced) aesthetic appreciation (of pure patterns of sound), e.g. music to accompany ritual or to intensify warlike spirit and dance music [Levinson seems to have modified his definition #4 by adding the distanced and pure parts] this definition also fails to exclude verbal arts such as drama and poetry definition #5: add primarily as sounds (this excludes poetry) definition #6: replace aesthetic appreciation with enrichment or intensification of experience. This handles the village rite. [Beardsley thought something similar about his definition of dance, which also featured intensification] add: organization of sound must be temporal: this would exclude colorful instantaneous combinations in isolation final definition: music is sounds temporally organized by a person for the purpose of enriching or intensifying experience through active engagement (e.g. listening, dancing, performing) with the sounds regarded primarily, or in significant measure as sounds: covers all kinds of music, but excludes Muzak. Levinson then reviews the salient features of this definition, bringing out that it can be applied to other cultures although it may not capture their concept of music, assumes that the music is worthwhile, and is creator-centered this definition distinguishes between what is music and what is treated as or regarded as music opposes John Cages [famous Zen-inspired 20th century avant-garde composer and theorist] idea that any and all sounds are music perhaps any sounds can be listened to as if they were music but the whirr of my blender and the whistling of the wind are not music related to this, some people believe that if there is a musical experience then there is music but this is a degenerate notion of music which denies to music its sentient origin, artistic intent and public character it is also hopelessly relativistic, making the status of anything as music relative to each individual listener and occasion [Levinson opposes this relativism] How is Levinsons theory of music similar to or different from Beardsleys definition of dance? Try comparing Levinsons view of music to that of Nietzsche. (That would be hard! They are such different writers in style and in philosophical assumptions.) Is there a problem with excluding Muzak from our definition of music? Does Levinsons definition really exclude Muzak as he claims it does? 678    = o p " * + Z s r !Latuv78LQe{]̸hw?h^6hw?hp/th^6h^hp/th*D1h h3*hvLS hus] hus6]htI:jhusUhusH45689@ A q 2 + =!v & Fgdp/t & Fgdp/t & Fgd  & Fgdus & Fgdusv|vx\vwwgd3* & Fgd3* & Fgd3* & Fgd^ & Fgd^#%vhp/thQ.h h3*6h3*h3*H*h h3*hw?h*D1h^,1h/ =!"#$% RDd 8T  S 0A?LevinsonRSRah&9 U/RDF'Rah&9 UJFIFC    $.' 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