Sounding Off brings together a selection of essays on philosophy of music written by Peter Kivy--the leading expert on the subject. The essays fall into four groups, corresponding to Kivy's major interests. Part I contains two essays on the nature of musical genius. In Part II, three essays take up the subject of authenticity in performance, and explore what Kivy terms "the authenticity of interpretation." Part III contains four essays concerning the much discussed issues of musical representation and musical meaning. Finally, Part IV consists of three essays on the "pure musical parameters": these are essays on "music alone" or "absolute music"--music as the pure, formal structure of (sometimes) expressive sound. Eight of the eleven essays presented here are previously unpublished, and the book includes two appendices which provide Kivy's responses to criticism.

Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music.

Once Upon a Time is a collection of essays in the philosophy of literature with two central themes: the significance of story –telling for us and the question of whether the novel, perhaps the art form most closely associated with story-telling, is a legitimate source of human knowledge. Leading philosopher of art Peter Kivy explores why human beings are so enthralled by being told stories and whether story-telling is a significant source of knowledge. Starting with a study of Aristotle's Poetics, Kivy then undertakes a critical discussion of Noel Carroll's suggestion that our interaction with the artists of the past is a kind of "conversation." He goes on to defend the thesis that one of the legitimate artistic pleasures we take in novel-reading is the acquiring of knowledge and, furthermore, that the silent reading of a novel is a kind of performance, making the novel one of the performing arts. The volume concludes with a chapter about jokes, and, in particular, whether it is immoral to tell or be amused by an "immoral" joke. This volume of essays is a must-read for anyone seriously interested in literature and the conceptual problems it may raise for philosophers.

Since the beginning of the eighteenth century, the philosophy of art has been engaged in the project of defining fine arts by finding out what they have in common. Peter Kivy's purpose is to trace the history of that enterprise and argue that the definitional project has been unsuccessful, with absolute music as the continual stumbling block. His fruitful change of strategy entails exploring the differences among the arts instead of engaging in an obsessive quest for sameness. He presents five case studies in both literature and music.

THE SENSE OF BEAUTY: A FIRST APPROXIMATION It is generally acknowledged that during the first half of the eighteenth century a profound change was wrought in the theory of art and natural beauty. To this period we owe the establishment of the modem system of the arts. 1 In England, the notion of a separate and autonomous disci pline devoted solely to art and to beauty came into being through the concept of "aesthetic disinterestedness. " 2 In addition, emphasis in the theory of art shifted from object to subject - from the work of art to the perceiver and critic. Focal point for this change was the sense of beauty which, in concert with the moral sense of the British school, represented a dominant force in Enlightenment value theory. It is Francis Hutcheson who, more than anyone else, can be thought of as the founder and principal spokesman of this philosophical coterie. If the aesthetic sense was instrumental in the transfer of interest, in the philosophy of art, from object to perceiver, the aesthetic and moral senses together were no less important in a parallel transference of value judgment from the rational to the sensate."

Once Upon a Time is a collection of essays in the philosophy of literature with two central themes: the significance of story –telling for us and the question of whether the novel, perhaps the art form most closely associated with story-telling, is a legitimate source of human knowledge. Leading philosopher of art Peter Kivy explores why human beings are so enthralled by being told stories and whether story-telling is a significant source of knowledge. Starting with a study of Aristotle's Poetics, Kivy then undertakes a critical discussion of Noel Carroll's suggestion that our interaction with the artists of the past is a kind of "conversation." He goes on to defend the thesis that one of the legitimate artistic pleasures we take in novel-reading is the acquiring of knowledge and, furthermore, that the silent reading of a novel is a kind of performance, making the novel one of the performing arts. The volume concludes with a chapter about jokes, and, in particular, whether it is immoral to tell or be amused by an "immoral" joke. This volume of essays is a must-read for anyone seriously interested in literature and the conceptual problems it may raise for philosophers.

In De Gustibus Peter Kivy deals with a question that has never been fully addressed by philosophers of art: why do we argue about art? We argue about the 'facts' of the world either to influence people's behaviour or simply to get them to see what we take to be the truth about the world. We argue over ethical matters, if we are ethical 'realists,' because we think we are arguing about 'facts' in the world. And we argue about ethics, if we are 'emotivists,' or are now what are called 'expressionists,' which is to say, people who think matters of ethics are simply matters of 'attitude,' to influence the behaviour of others. But why should we argue about works of art? There are no 'actions' we wish to motivate. Whether I think Bach is greater than Beethoven and you think the opposite, why should it matter to either of us to convince the other? This is a question that philosophers have never faced. Kivy claims here that we argue over taste because we think, mistakenly or not, that we are arguing over matters of fact.

Peter Kivy presents a selection of his new and recent writings on the philosophy of music, a subject to which he has for many years been one of the most eminent contributors. In his distinctively elegant and informal style, Kivy explores such topics as musicology and its history, the nature of musical works, and the role of emotion in music, in a way that will attract the interest of philosophical and musical readers alike.

Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music.

Antithetical Arts constitutes a defence of musical formalism against those who would put literary interpretations on the absolute music canon. In Part I, the historical origins of both the literary interpretation of absolute music and musical formalism are laid out. In Part II, specific attempts to put literary interpretations on various works of the absolute music canon are examined and criticized. Finally, in Part III, the question is raised as to what the human significance of absolute music is, if it does not lie in its representational or narrative content. The answer is that, as yet, philosophy has no answer, and that the question should be considered an important one for philosophers of art to consider, and to try to answer without appeal to representational or narrative content.

Music, Language, and Cognition is the third collection of Peter Kivy's seminal papers in the philosophy of music. In essays which span his earliest work in the field and his more recent contributions to journals, anthologies, and conference proceedings, Kivy considers the origin of music, the medium of expression in opera, the role of music in film, the nature of an "ideal" performance, and the question of whether absolute music has a meaning, among other issues. Rich with critical analysis and informed by the history of both philosophy and music, this volume will be of interest to anyone who likes not only to listen to music, but to think about it as well.

Now reissued with substantial new material, The Seventh Sense is the definitive study of the aesthetic theory of the great eighteenth-century philosopher Francis Hutcheson, and its huge influence on British aesthetics. Peter Kivy's book is a seminal work on early modern aesthetics, and has been much in demand since going out of print some years ago; this new edition brings the book up to date with the addition of seven essays that Kivy has written on the subject since 1976.

Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the centre of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction to some fascinating questions and ideas.

Peter Kivy presents a selection of his new and recent writings on the philosophy of music, a subject to which he has for many years been one of the most eminent contributors. In his distinctively elegant and informal style, Kivy explores such topics as musicology and its history, the nature of musical works, and the role of emotion in music, in a way that will attract the interest of philosophical and musical readers alike.

Antithetical Arts constitutes a defence of musical formalism against those who would put literary interpretations on the absolute music canon. In Part I, the historical origins of both the literary interpretation of absolute music and musical formalism are laid out. In Part II, specific attempts to put literary interpretations on various works of the absolute music canon are examined and criticized. Finally, in Part III, the question is raised as to what the human significance of absolute music is, if it does not lie in its representational or narrative content. The answer is that, as yet, philosophy has no answer, and that the question should be considered an important one for philosophers of art to consider, and to try to answer without appeal to representational or narrative content.

Music, Language, and Cognition is the third collection of Peter Kivy's seminal papers in the philosophy of music. In essays which span his earliest work in the field and his more recent contributions to journals, anthologies, and conference proceedings, Kivy considers the origin of music, the medium of expression in opera, the role of music in film, the nature of an "ideal" performance, and the question of whether absolute music has a meaning, among other issues. Rich with critical analysis and informed by the history of both philosophy and music, this volume will be of interest to anyone who likes not only to listen to music, but to think about it as well.

What makes a musical work profound? What is it about pure instrumental music that the listener finds attractive and rewarding? In addressing these questions, Peter Kivy continues his highly regarded exploration of the philosophy of musical aesthetics. He considers here what he believes to be the most difficult subject of all "just plain music; music unaccompanied by text, title, subject, program, or plot; in other words, music alone."

In his new concluding chapter, Peter Kivy advances his argument on behalf of a distinctive intellectual and musical character of opera before Mozart. He proposes that happy endings were a musical -- as opposed to a dramatic -- necessity for opera during this period and that Mozart's Idomeneo is properly enjoyed and judged only when listeners axe attuned to its seventeenth and eighteenth-century forebears.

How are we to assess the current popularity of period instruments and early-music performance? For musicians and audiences alike, the "historical authenticity" movement has increasingly influenced the performance of classical music. It has given us, claims Peter Kivy, "new and rewarding ways of listening to our musical reportory (as well as silly, vulgar, and unrewarding ones)." He believes that theory now overrules the ear in arguing for and justifying particular aesthetic decisions. In his customary engaging style, Kivy here mounts a philosophical inquiry into the desirability of using or re-creating historical performance. "Authenticity has become so widely accepted," he writes, "that why it should be accepted has become an unasked, indeed a forgotten question among the converted." In "How to Be Authentic," the first section of his book, he examines four different kinds of authenticity; in the second part, "Why to Be Authentic," he suggests how to evaluate them. Discussing issues that he cares about passionately, Kivy provides ammunition for both camps—those who follow authentic performance practice and those who do not. It is his hope that this book provides the groundwork for dialogue between mucisians and philosophers. "I look forward to that," he says, "and to being, when it comes, in the thick of things."

The concept of genius intrigues us. Artistic geniuses have something other people don’t have. In some cases that something seems to be a remarkable kind of inspiration that permits the artist to exceed his own abilities. It is as if the artist is suddenly possessed, as if some outside force flows through him at the moment of creation. In other cases genius seems best explained as a natural gift. The artist is the possessor of an extra talent that enables the production of masterpiece after masterpiece. This book explores the concept of artistic genius and how it came to be symbolized by three great composers of the modern era: Handel, Mozart, and Beethoven. Peter Kivy, a leading thinker in musical aesthetics, delineates the two concepts of genius that were already well formed in the ancient world. Kivy then develops the argument that these concepts have alternately held sway in Western thought since the beginning of the eighteenth century. He explores why this pendulum swing from the concept of the possessor to the concept of the possessed has occurred and how the concepts were given philosophical reformulations as views toward Handel, Mozart, and Beethoven as geniuses changed in the eighteenth, nineteenth, and twentieth centuries.

"The Corded Shell: Reflections on Musical Expression", published in 1980 and now out of print, was concerned with the question of how music comes to have the emotional properties that have been perceived in it and ascribed to it since antiquity. In that book, Peter Kivy argued that music possesses expressive properties, not as powers to arouse emotions in us but, rather, as perceived qualities of the music itself. In "Sound Sentiment", he augments his previous work with four entirely new chapters. Incorporating the complete, corrected text of "The Corded Shell", Kivy brings his earlier arguments up to date in light of recent work in the field, and discusses and answers various criticisms. Author note: Peter Kivy is Professor of Philosophy at Rutgers University and Associate Editor of the "Journal of Aesthetics and Art Criticism". He received the Deems Taylor Award of ASCAP for "The Corded Shell".

How are we to assess the current popularity of period instruments and early-music performance? For musicians and audiences alike, the "historical authenticity" movement has increasingly influenced the performance of classical music. It has given us, claims Peter Kivy, "new and rewarding ways of listening to our musical repertory (as well as silly, vulgar, and unrewarding ones)". He believes that theory now overrules the ear in arguing for and justifying particular aesthetic decisions. In his customary engaging style, Kivy here mounts a philosophical inquiry into the desirability of using or re-creating historical practices in performance. In "How to Be Authentic", the first section of his book, he examines four different kinds of authenticity; in the second part, "Why to Be Authentic", he suggests how to evaluate them. Discussing issues that he cares about passionately, Kivy provides ammunition for both camps - those who follow authentic performance practice and those who do not. It is his hope that his book provides the groundwork for dialogue between musicians and philosophers.