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Representing the Great in Music

Bibliographic Data

ID8090624
AuthorsMeilin Chinn (0000-0002-1821-183X, corresponding author)
Year2021
Volume71
Issue1
Pages173-192
Publication date2021-01-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenuePhilosophy East and West (JOURNAL)
Journal identifiersISSN: 0031-8221 • E-ISSN: 1529-1898
PublisherProject MUSE (PUBLISHER • US)
DOI10.1353/pew.2021.0009
OpenAlexW3120204367
LanguageEN
Citations received1

Many discussions of musical meaning are structured by a pivotal disagreement over whether music is a representational art. Some argue that music should be understood in formal terms because it cannot represent anything external to it, while others resist the austerity of formalism with explanations of how music represents the extramusical world via its relationship to another source of established meaning. Across the divide, these approaches share conceptions of representation drawn from outside music, thereby overlooking a way of representing exemplified in music: representing the non-representational, or what, to borrow a naming convention from Chinese philosophy, could be called “great.” Shown here is how music can represent the “great,” and it is suggested we reconsider representation on music’s terms. This is also a starting point for reversing questions that ask how music is like other meaningful phenomena to asking how these are like music. What can music show us about representation

Aesthetics · Art · Convention · Epistemology · Formalism (music · Linguistics · Literature · Meaning (existential · Music and emotion · Music history · Music psychology · Music theory · Musical · Politics · Pop music automation · Popular music · Representation (politics · Social science · Sociology · Diverse Musicological Studies · Music Technology and Sound Studies · Musicology and Musical Analysis · Philosophy

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Unique citing works1
Citations per year0,25
Citation span2022 - 2022 (1)
Citation velocityhistorical
Highly citedNo
Citation typesNeutral: 1
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