dc.contributor.advisor |
Davies, S |
en |
dc.contributor.advisor |
Kingsbury, J |
en |
dc.contributor.author |
Ravasio, Matteo |
en |
dc.date.accessioned |
2018-08-01T21:19:31Z |
en |
dc.date.issued |
2018 |
en |
dc.identifier.uri |
http://hdl.handle.net/2292/37586 |
en |
dc.description.abstract |
An account of instrumental music’s emotional expressiveness has come to be considered a benchmark for theories of expressiveness: because of its abstract character, the attribution of expressive qualities to instrumental music is particularly puzzling. In my dissertation, I contend that a more pluralistic account of musical expressiveness than the ones currently available is necessary. Whereas available accounts normally defend a single phenomenological characterisation of musical expressiveness, I argue that a viable account needs to provide a layered characterisation of the phenomenology of expressive perception. A basic layer of core expressive properties is be characterised by a correspondingly thin phenomenology, whereas a more complex and varied phenomenology corresponds to the historically and cross-culturally variable levels of expressiveness. With regard to the latter aspect, I introduce the concept of a heuristic device. I define heuristic devices as a range of diachronically and synchronically variable strategies that use information from an extra-musical domain in order to create or appreciate music with certain properties. Theories that deny emotional arousal a place in accounting for expressiveness need to determine how music-induced emotions are related to the music’s expressive qualities, as well as whether they contribute to its value as an art form. In order to answer these questions, I develop a general criterion of artistic relevance for music-induced emotions, which is missing from the available literature. I examine a special class of descriptions of music, which I term ‘atmospheric’. Atmospheric descriptions of music are widely found in music criticisms. I argue that currently available theories of musical expressiveness and representation would need substantial qualification if they aim to account for them. Finally, I consider evolutionary explanations of musical expressiveness and the role they may have in philosophical accounts of expressiveness. I contend that an evolutionary explanation that aims at grounding the phenomenology of musical expressiveness should meet five challenges. I argue that the most widely held resemblance theories of musical expressiveness may need such a hypothesis, or at least something that serves a similar role. |
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dc.publisher |
ResearchSpace@Auckland |
en |
dc.relation.ispartof |
PhD Thesis - University of Auckland |
en |
dc.relation.isreferencedby |
UoA99265089711902091 |
en |
dc.rights |
Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. |
en |
dc.rights.uri |
https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm |
en |
dc.rights.uri |
http://creativecommons.org/licenses/by-nc-nd/3.0/nz/ |
en |
dc.title |
Musical Expressiveness: a Layered Account |
en |
dc.type |
Thesis |
en |
thesis.degree.discipline |
Philosophy |
en |
thesis.degree.grantor |
The University of Auckland |
en |
thesis.degree.level |
Doctoral |
en |
thesis.degree.name |
PhD |
en |
dc.rights.holder |
Copyright: The author |
en |
dc.rights.accessrights |
http://purl.org/eprint/accessRights/OpenAccess |
en |
pubs.elements-id |
750667 |
en |
pubs.record-created-at-source-date |
2018-08-02 |
en |
dc.identifier.wikidata |
Q112937976 |
|