The Oxford Handbook of Western Music and Philosophy (OXFORD HANDBOOKS SERIES)

Whether regarded as a perplexing object, a morally captivating force, an ineffable entity beyond language, or an inescapably embodied human practice, music has captured philosophically inclined minds since time immemorial. In turn, musicians of all stripes have called on philosophy as a source of inspiration and encouragement, and scholars of music through the ages have turned to philosophy for insight into music and into the worlds that sustain it. In this Handbook , contributors build on this legacy to conceptualize the rich interactions of Western music and philosophy as a series of meeting points between two vital spheres of human activity. They draw together key debates at the intersection of music studies and philosophy, offering a field-defining overview while also forging new paths. Chapters cover a wide range of musics and philosophies, including concert, popular, jazz, and electronic musics, and both analytic and continental philosophy. Contents 6 Acknowledgements 12 List of contributors 14 Introduction • Tomás McAuley, Nanette Nielsen, and Jerrold Levinson 18 PART I: MAPPING THE FIELD 26 1. Historical Musicology and Philosophy • Julian Johnson 28 2. Music Theory and Philosophy • Alexander Rehding 44 3. Ethnomusicology and Philosophy • Ellen Koskoff 62 4. Analytic Philosophy of Music • David Davies 82 5. Continental Philosophy of Music • Christopher Norris 106 PART II: HISTORY 132 6. Ancient Greece • Armand D’Angour 134 7. The Middle Ages • Elizabeth Eva Leach 154 8. The Early Modern Period • Bruce R. Smith 174 9. The Enlightenment • Tomás McAuley 198 10. The Nineteenth Century • Andreas Dorschel 224 11. The Twentieth Century • Tamara Levitz 242 PART III: PHILOSOPHICAL TRADITIONS AND PRACTICES 280 12. Epistemologies • Ian Cross and Elizabeth Tolbert 282 13. Ethics • Ariana Phillips-Hutton and Nanette Nielsen 300 14. Phenomenology • Simon Høffding 324 15. Ontology • Charles O. Nussbaum 342 16. Theology • Jeremy Begbie 362 17. Philosophy of Language • Hanne Appelqvist 378 18. Hermeneutics • Lawrence Kramer 402 19. Deconstruction • Naomi Waltham-Smith 420 20. Posthumanism • Gary Tomlinson 432 PART IV: MUSICAL TRADITIONS AND PRACTICES 452 21. Improvisation • Bruce Ellis Benson 454 22. Composition • Joseph Dubiel 468 23. Performance • Paul Thom 484 24. Listening • Marcel Cobussen 500 25. Vocal Music • Freya Jarman 516 26. Electronic Music • Joanna Demers 536 27. Popular Music • Theodore Gracyk 550 28. Blacksound • Matthew D. Morrison 572 29. Jazz • Garry L. Hagberg 596 30. Opera • Michael Fend 618 PART V: KEY CONCEPTS 646 31. Absolute Music • Sarah Collins 648 32. Consciousness • David Clarke 670 33. Evolution • Stephen Davies 694 34. Expression • Mark Evan Bonds 722 35. Gender • J. P. E. Harper-Scott 740 36. The Ineffable (and Beyond) • Carolyn Abbate and Michael Gallope 758 37. Meaning and Autonomy • Max Paddison 780 38. Meaning and Scepticism • Paul Boghossian 802 39. Mercy • Martha C. Nussbaum 820 40. Nature • Stephen Decatur Smith 840 41. Making Sense • Andrew Bowie 860 42. Society • Michael Gallope 876 43. Space • Andrew Kania 896 44. Time • Christopher Hasty 912 PART VI: COLLISIONS AND COLLABORATIONS 938 45. Authenticity • Julian Dodd and John Irving 940 46. Beauty • Nick Zangwill and Stephen Hinton 958 47. Emotion • Michael Spitzer and Derek Matravers 984 48. Enchantment • Scott Burnham and Gordon Graham 1000 49. Expectations • Jenny Judge and Bence Nanay 1014 50. Galant Music • Jean-Luc Nancy, trans. Naomi Waltham-Smith and Jerrold Levinson, with an introduction by Naomi Waltham-Smith 1036 51a. Perception • Christopher Peacocke 1046 51b. Response to Christopher Peacocke: Perception • Nicholas Cook 1074 52a. Subjectivities • Susan McClary 1082 52b. Response to Susan McClary: Subjectivities • Jeanette Bicknell 1092 Index 1100 The Oxford Handbook of Western Music and Philosophy celebrates the ways in which musicians have historically called upon philosophy as a source of inspiration and encouragement, and scholars of music through the ages have turned to philosophy for insight into music and into the worlds that sustain it.