How does music have meaning? Accounts describe musical meaning as autonomous (relating to music’s internal structures and properties) or as heteronomous (situating meaning as an interrelationship between the musical object and the world).Ĭhapter 1 reviews the literature relating to these accounts and argues that there are no purely autonomous musical meanings and that all descriptions of musical meaning rely on heteronomous explanations.Ĭhapter 2 discusses five types of explanation: Grice’s natural meaning, ‘Kantian’ transcendence, emotional accounts of meaning, semiotic explanations and, ecological descriptions which are given a place on a ‘spectrum’ of increasing heteronomy.Ĭhapter 3 contends that the descriptions of musical meaning outlined in Chapter 2 are given within the Anglo-American tradition of analytical philosophy whose aesthetics rely heavily on ontological classification (descriptions of what things are). The Continental philosophical tradition builds on the philosophy of Nietzsche and Heidegger, through Foucault and Derrida, in developing an epistemological account (the way things work and act). These two traditions are a contrast between, respectively, what things are and how things are. Deleuze’s ‘rhizome’ is introduced as the metaphysical space which is a bridging position between the two traditions, allowing for the necessity of ontological entities, but describing how they may interact epistemologically.
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