Language, Music, and Mind (MIT Press)
| Author | : | |
| Rating | : | 4.53 (788 Votes) |
| Asin | : | 0262519356 |
| Format Type | : | paperback |
| Number of Pages | : | 184 Pages |
| Publish Date | : | 2013-08-29 |
| Language | : | English |
DESCRIPTION:
Diana Raffman is Assistant Professor of Philosophy at the Ohio State University.
About the AuthorDiana Raffman is Assistant Professor of Philosophy at the Ohio State University.
Christopher K. Koenigsberg said I found it flawed. I apologize if I misunderstood it (and it has been some time since I read it) but Raffman's book seemed to build upon some questionable and shaky initial assumptions, and some over-generalizations or mis-characterizations of prior work (e.g. Goodman, and Lerdahl-Jackendoff). The point that I would get from her book, which I don't think is quite the one she intended, is that IF you restrict yourself to considering music based on the Western 1"I found it flawed" according to Christopher K. Koenigsberg. I apologize if I misunderstood it (and it has been some time since I read it) but Raffman's book seemed to build upon some questionable and shaky initial assumptions, and some over-generalizations or mis-characterizations of prior work (e.g. Goodman, and Lerdahl-Jackendoff). The point that I would get from her book, which I don't think is quite the one she intended, is that IF you restrict yourself to considering music based on the Western 12-note equal-tempered "classical" (e.g. "grammatical" a la Lerdahl-Jackendoff) pitch system, and IF you restrict yourself to musical scores which are only . -note equal-tempered "classical" (e.g. "grammatical" a la Lerdahl-Jackendoff) pitch system, and IF you restrict yourself to musical scores which are only
In the process she also sheds light on central issues in the theory of mind.Raffman invokes recent theory in linguistics and cognitive psychology to provide an account of the content and etiology of musical knowledge that "can not be put into words." Within the framework of Lerdahl and Jackendoff's generative theory of music perception, she isolates three kinds of ineffability attending our conscious knowledge of music -- access, feeling, and nuance ineffability -- and shows how these arise.Raffman makes a detailed comparison of linguistic and musical understanding, culminating in an attack on the traditional idea that human emotions constitute the meaning or