Objectives | Texts | Topics | Assignments | Grades | Disabilities | Annotations | Calendar |
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COURSE OBJECTIVES The course will provide an overview of traditional and contemporary problems in the philosophy of music. While a number of specific interpretive frameworks, theories, and agenda (expressionism, symbolism, formalism, acoustics, social history, phenomenology) are discussed, emphasis is placed on the conceptual consequences music imposes generally on our basic philospohies of nature and experience. Topics from both classical aesthetics and recent pluralist perspectives will be covered; after considering the tradition and its discontents, students will be encouraged to advance and criticize a variety of philosophical views concerning the meanning and making of music. |
Required Texts The following texts will figure prominently in class discussion; a thorough familiarity with their contents is advised:
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Recommended Texts and Media The following media are recommended as ancillary; a limited supply of them should be available in local bookstores:
Course Links |
(1) CLASSICAL AESTHETICS |
Primary Readings: Bowman, Chapters 2-6.
Supplemental Readings: Adolphe, Chapters 4-12.
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(2) CONTEMPORARY AESTHETICS |
Primary Readings: Bowman, Chapters 7 & 8.
Supplemental Readings: Kivy, Chapters 1-13.
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(3) PYTHAGOREAN PROBLEMS |
Primary Readings: Gouk, Chapters 1-8.
Supplemental Readings: Yates, Chapters 1-9.
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(4) MAKING WAVES: THE PROBLEM OF MEANING |
Primary Readings: Wald, Chapters 1-14.
Supplemental Readings: Gioia, Chapters 1-11.
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(5) MUSIC AND THE PHILOSOPHY OF MIND |
Primary Readings: Levitin, Chapters 1-9.
Supplemental Readings: Adolphe, Chapters 1-3 & 13-26.
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A calendar of readings, discussion topics, and written assignments is provided below. Since the readings will serve as the primary springboard for discussions, it is vital that you be familiar with whatever texts are appropriate to a
topic BEFORE that topic is covered in class. Class discussion will approximate seminar format, so joint inquiry will generally take precedence over ex cathedra lecture.
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There will be three (3) written assignments (none to exceed ten double-spaced typed pages), as follows. |
(1) Theoretical Analysis. Outline the essential features of a classical or contemporary philosophy of music; include some discussion of the metaphysical assumptions, methodological practices, and substantive claims that characterize
the theory in view. (2) Socio-Historical Analysis. Examine the social and/or political significance of a particular musical achievement (a form, style, a body of work, even an individual piece of music) within historical context. (3) Critical Analysis. Choose one from of the following three approaches: (a) select a musical example, and provide an extended criticism of the piece from the twin perspectives of both the performer and an ideal listener; or (b) select a musical example, and provide a phenomenological account of whatever noticeable differences in experience appear after listening to the piece on at least two different occasions and contexts; or (c) select a musical example, and provide two introspective reports of listening to the piece, firstly in the idiom of folk-psychology, and secondly, in the idiom of neuro-speak.
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Ten percent of the final grade will reflect class participation. The remaining ninety percent of the final grade will be based on the following division (total possible points = 90):
(a) Theoretical Analysis: 30 pts. |
If you have a disability that may require assistance or accommodation, or you have questions related to any accommodations for testing, note takers, readers, etc., please speak with your instructor as soon as possible. Students may a lso contact the Office of Disabled Students Services (898-2783) with questions about such services. |
The following markers are designed to index problems in essay work. They are NOT arranged in order of severity. They do NOT necessarily correlate with grade assignments. |
*****SYNTAX***** (1) Spelling error here. (2) Noncritical weakness in sentence structure. (3) Critical weakness in sentence structure. (meaning lost). (4) Punctuation not clear. *****SEMANTICS***** (5) Term or phrase unclear or unexplained. (6) Term or phrase ambiguous. (7) New paragraph warranted here. (8) Circumlocution here; simpler expression available. *****ANALYSIS***** (9) General structure of this argument unclear. (10) Conclusion does not follow without unstated assumptions. (11) Relevance of this point to your argument is not clear. (12) This assertion is questionable and requires further support. (13) Further consequences of this claim are unmentioned but relevant. (14) This inference is formally invalid. |
DATE |
MATERIALS COVERED |
DATE |
MATERIALS COVERED |
A. 29 |
Introductory; Syllabus |
24 |
Gouk, Chapters 2-3 |
31 |
Bowman, Chapters 1-2 |
26 |
Gouk, Chapters 4-5 |
S. 05 |
Bowman, Chapters 2-3 |
31 |
Gouk, Chapters 6-7 |
07 |
Bowman, Chapter 3 |
N. 02 |
Wald, Chapters 1-2 |
12 |
Bowman, Chapter 4 |
07 |
Wald, Chapters 3-4 |
14 |
Bowman, Chapter 4 |
09 |
Wald, Chapters 5-6 |
19 |
Bowman, Chapter 5 |
14 |
Wald, Chapters 7-8 |
21 |
Bowman, Chapter 5 |
16 |
Levitin, Chapters 1-2 / Social Analysis Due |
26 |
Bowman, Chapter 6 |
21 |
Levitin, Chapters 3-4 |
28 |
Bowman, Chapter 6 |
23 |
Thanksgiving Holiday - No Classes |
O. 03 |
Bowman, Chapter 7 |
28 |
Levitin, Chapters 5-6 |
05 |
Bowman, Chapter 7 |
30 |
Levitin, Chapters 7-8 / Critical Analysis Due |
10 |
Bowman, Chapter 8 |
D. 05 |
Levitin, Chapter 9 |
12 |
Bowman, Chapter 8 |
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17 |
Fall Break - No Classes |
14 |
There is no final exam in this course |
19 |
Gouk, Chapter 1 / Theoretical Analysis Due |
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