By Diana Raffman
Taking a singular method of a longstanding challenge within the philosophy of artwork, Diana Raffman presents the 1st cognitivist thought of the character of ineffable, or verbally inexpressible, musical wisdom. within the strategy she additionally sheds gentle on crucial concerns within the concept of mind.
Raffman invokes fresh concept in linguistics and cognitive psychology to supply an account of the content material and etiology of musical wisdom that "can no longer be positioned into words." in the framework of Lerdahl and Jackendoff's generative concept of tune conception, she isolates 3 sorts of ineffability attending our unsleeping wisdom of tune -- entry, feeling, and nuance ineffability -- and exhibits how those arise.
Raffman makes an in depth comparability of linguistic and musical realizing, culminating in an assault at the conventional concept that human feelings represent the that means or semantic content material of track. She compares her account of musical ineffability to numerous conventional techniques to the matter, really these of Nelson Goodman and Stanley Cavell. within the concluding bankruptcy, Raffman explores an important hindrance that her idea poses to Daniel Dennett's propositional conception of consciousness.
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Extra resources for Language, Music, and Mind (MIT Press)
N]othing will be lost if we conveniently consider them to be an input to the theory of reductions. . What is needed, in addition, is a scale of stability among pitch configurations, derived from the raw material of the given tonal system. 25 < previous page page_24 If you like this book, buy it! next page > < previous page page_25 next page > Page 25 The thought is that in the time-span and prolongational analyses, information about the rhythmic location and importance of pitch-time events is brought into register with long-term mental representations or schemas of the pitch relationships that define our Western tonal system.
4 Meaning as Explanandum and Guide I remarked above that music has no intentional content; it isn't about anything. Granted, if we set things up right we can lend the music a certain intentionality: to the listener armed with his glossary of Wagnerian leitmotifs, a given theme may assert, in some sense of 'assert', 'Here comes Siegfried'; to the listener informed of Stravinsky's intent, the descending Phrygian scale that opens Orpheus may refer, in some sense of 'refer', to the hero's ill-fated descent into Hades.
Previous page page_43 If you like this book, buy it! next page > < previous page page_44 next page > Page 44 I suspect that much of the skepticism about a musical/language parallel in the semantic arena results from a failure to recognize the variety of places at which such a parallel might gain its footing. In what follows I shall argue that our musical feelings are in certain respects precisely comparable to linguistic meanings; while I am sympathetic to the separatist line of Lerdahl and Jackendoff, I think it is overstated.