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Original Articles

Phenomenology, Structuralism, and Philosophy of Music: A Qualified Platonist Approach

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Pages 128-147 | Published online: 21 Oct 2014

References

  • See Christopher Norris, Epistemology: Key Concepts (London: Continuum, 2005).
  • See Michael Dummett, Truth and Other Enigmas (London: Duckworth, 1978); Michael Luntley, Language, Logic and Experience: the Case for Anti-Realism (London: Duckworth, 1988).
  • See William P. Alston, A Realist Conception of Truth (Ithaca, NY: Cornell University Press, 1996); Scott Soames, Understanding Truth (Oxford: Oxford University Press, 1999).
  • Immanuel Kant, Critique of Judgement, trans. J.C. Meredith (Oxford: Clarendon Press, 1978).
  • Kant, Critique of Pure Reason, trans. N. Kemp Smith (London: Macmillan, 1964).
  • Kant, Critique of Judgement.
  • Alexander Baumgarten, Aesthetica, 2 vols. (Frankfurt an der Oder, 1750 and 1758); Reflections on Poetry, trans. K. Aschenbrenner and W.B. Holther (Berkeley: University of California Press, 1954).
  • Jacques Derrida, ‘Parergon’, in The Truth in Painting, trans. Geoff Bennington and Ian McLeod (Chicago: University of Chicago Press, 1987), pp. 15–147.
  • See Mark A. DeBellis, Music and Conceptualization (Cambridge: Cambridge University Press, 1995).
  • See Jerry A. Fodor, The Language of Thought (Hassocks: Harvester Press, 1976).
  • Fodor, The Mind Doesn't Work That Way: The Scope and Limits of Computational Psychology (Cambridge, MA: MIT Press, 2000).
  • See Derrida, ‘“Genesis and Structure” and Phenomenology’, in Writing and Difference, trans. Alan Bass (London: Routledge & Kegan Paul, 1978), pp. 154–68.
  • See Philip Pettit, The Common Mind (Oxford: Oxford University Press, 1992).
  • See Ben Caplan and Carl Matheson, ‘Can a Musical Work be Created?’, British Journal of Aesthetics, Vol. 44 (2004), pp. 113–34; Robert A. Sharpe, ‘Music, Platonism and Performance: some ontological strains’, British Journal of Aesthetics, Vol. 35 (1995), pp. 38–48.
  • See Mark Johnston, ‘Dispositional Theories of Value’, Proceedings of the Aristotelian Society, Vol. 63 (1989), pp. 139–74; Ralph Wedgwood, ‘The Essence of Response-Dependence’, European Review of Philosophy, Vol. 3 (1998), pp. 31–54.
  • See Malcolm Budd, Music and the Emotions: the philosophical theories (London: Routledge, 1985); Jerrold Levinson, Music, Art and Metaphysics (Ithaca, NY: Cornell University Press, 1990). I should note that Levinson also uses the phrase ‘qualified Platonism’, although in a different sense.
  • Derrida, ‘Genesis and Structure’ (op. cit.), p. 159.
  • Ibid, p. 157.
  • Derrida, Writing and Difference (op. cit.), p. 5.
  • See Hans Reichenbach, Experience and Prediction (Berkeley & Los Angeles: University of California Press, 1938).
  • See Ernest Ansermet, Les fondements de la musique dans la conscience humaine (Neuchatel: Edition de la Baconnière, 1961); German edn. Die Grundlagen der Musik im menschlichen Bewußtsein, trans. H. Leuchtmann and E. Maschat (Munich: Piper Verlag, 1965).
  • Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols (Indianapolis: Bobbs-Merrill, 1976).
  • Gottlob Frege, ‘The Thought’, in The Frege Reader, ed. Michael Beaney (Oxford: Blackwell, 1997), pp. 181–93.
  • See Kevin Barry, Language, Music and the Sign (Cambridge: Cambridge University Press, 1987).
  • See Barry, Language, Music and the Sign (op. cit.).
  • See Nicholas Cook and Mark Everist (eds.), Re-Thinking Music (Oxford: Oxford University Press, 1999); Judy Lochhead and Joseph Auner (eds.), Postmodern Music/Postmodern Thought (New York & London: Garland, 2002).
  • See Charles Rosen, The Classical Style, revised edn. (London: Faber 1976).
  • See Hans Keller, The Great Haydn Quartets (London: Dent, 1986).
  • Plato's Euthyphro, Apology of Socrates, and Crito, ed. John Burnet (Oxford: Clarendon Press, 1977); also Crispin Wright, ‘Euthyphronism and the Physicality of Colour’, European Review of Philosophy, Vol. 3 (1998), pp. 15–30.
  • See Norris, Minding the Gap: Epistemology and Philosophy of Science in the Two Traditions (Amherst, MA: University of Massachusetts Press, 2000).
  • See Edmund Husserl, Formal and Transcendental Logic, trans. Dorion Cairns (The Hague: Nijhoff, 1969).
  • Plato, Meno, in J.M. Cooper (ed.), Plato: Complete Works (Indianapolis: Hackett, 1997).
  • J. Alberto Coffa, The Semantic Tradition from Kant to Carnap: to the Vienna Station (Cambridge: Cambridge University Press, 1991).
  • T.W. Adorno, ‘On the problem of musical analysis’, trans. Max Paddison, Music Analysis, Vol. 1, No. 2 (1982), pp. 170–87; p.183.
  • Ibid, p. 185.
  • See Adorno, Philosophy of Modern Music, trans. W. Blomster (London: Sheed & Ward, 1973); In Search of Wagner, trans. Rodney Livingstone (London: Verso, 1991); Beethoven: The Philosophy of Music, trans. Edmund Jephcott (Oxford: Polity Press, 1998).
  • See Adorno, Aesthetic Theory (op. cit.).
  • Adorno, ‘On the Problem of Musical Analysis’ (op. cit.), p. 186
  • Derrida, Of Grammatology, trans. G.C. Spivak (Baltimore: Johns Hopkins University Press, 1976).
  • Ibid, p. 200.

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