Kivy

Kivy is the anti-modernist, arguing, in Pitt's words, that "the emotions we ascribe to music are properties of the music, not the listener."

Music 2007

Lake Kivy is also a potential source of wealth, holding vast stocks of methane.

Scientists Work to Prevent Cameroonian Lake from Exploding 2011

The April 23 issue of the Times Literary Supplement offers a version of this debate, as David Pitt, a philosopher at Cal State-Long Beach, reviews two books by the music critic Peter Kivy, New Essays on Musical Understanding, and Introduction to a Philosophy of Music.

Music 2007

But arguments about music of the sort Kivy advances are intended to be taken literally, since if we settle for the listener's experience of various emotions (or anything else you'd care to call them), an irretrievable element of subjectivity is being granted, the kind of subjectivity that makes "modern" atonal music possible in the first place.

Music 2007

In a mid-twentieth-century book described as "the work that was to set the tone of clarity and hard thinking for the discipline" of aesthetics (Kivy ix),

Tastes and Pleasures 2007

Of course, these are all experimental, dissonant books, and the point of describing literature in the way Kivy appears to be doing it (at least according to Pitt) could well be to exclude such books from the category of "literature," just as Berg and Webern are excluded from the category of "music."

Music 2007

Kivy must have "narrative fiction" in mind (although the real analogy would seem to be with drama), since poetry is of course full of repetition.

Music 2007

What really interests me most about Pitt's account of Kivy's books, however, is the additional discussion of what Kivy calls the "problem" of opera.

Music 2007

This account of the aesthetic was inadvisable, since it allowed critics like Cohen and Kivy to argue that ascribing aesthetic properties did not in fact require a special faculty, since anyone can distinguish and graceful line from an ungraceful line.

Aesthetic Judgment Zangwill, Nick 2007

Without some account of how our interest in the expressive properties of a piece does not lead us back to the workaday world (as Kivy insists such properties do in representational arts, such as literature and painting) it seems we should prefer a theory, such as Budd's or Goldman's, that provides some account of the real-world role our experience of these properties plays.

The Philosophy of Music Kania, Andrew 2007