TY - JOUR
T1 - Musical experience
AU - Quesada, Daniel
PY - 2012/12/1
Y1 - 2012/12/1
N2 - Is a musical experience a distinctive type of experience? What is the relation between, for example, technical and practical knowledge of music with regards to undergoing such an experience? How are we to understand a claim by a professional musician that asserts, e.g., that one "hears a (certain sort of) hardship" on listening to Shostakovich's violin concerto no. 1? Focusing on classical music, this paper inquires into what is, and is not, sufficient or necessary for having a "purely musical" experience, with the aim of sketching a framework within which typical expressions about the experience of hearing music can be understood. The paper further illustrates how diverse present-day debates in the philosophy of music relate to the enterprise of drawing up such framework.
AB - Is a musical experience a distinctive type of experience? What is the relation between, for example, technical and practical knowledge of music with regards to undergoing such an experience? How are we to understand a claim by a professional musician that asserts, e.g., that one "hears a (certain sort of) hardship" on listening to Shostakovich's violin concerto no. 1? Focusing on classical music, this paper inquires into what is, and is not, sufficient or necessary for having a "purely musical" experience, with the aim of sketching a framework within which typical expressions about the experience of hearing music can be understood. The paper further illustrates how diverse present-day debates in the philosophy of music relate to the enterprise of drawing up such framework.
KW - Phenomenology of music
KW - Imaginative involvement
KW - Musical representation
KW - Semantic indetermination
KW - Musical experience
UR - https://dialnet.unirioja.es/servlet/articulo?codigo=4247259
M3 - Article
SN - 0210-1602
VL - 31
SP - 165
EP - 178
JO - Teorema
JF - Teorema
IS - 3
ER -