Oxford Handbook of Western Music and Philosophy

Whether regarded as a perplexing object, a morally captivating force, an ineffable entity beyond language, or an inescapably embodied human practice, music has captured philosophically inclined minds since time immemorial. In turn, musicians of all stripes have called on philosophy as a sourceof inspiration and encouragement, and scholars of music through the ages have turned to philosophy for insight into music and into the worlds that sustain it. In this Handbook, contributors build on this legacy to conceptualize the rich interactions of Western music and philosophy as a series ofmeeting points between two vital spheres of human activity. They draw together key debates at the intersection of music studies and philosophy, offering a field-defining overview while also forging new paths. Chapters cover a wide range of musics and philosophies, including concert, popular, jazz, and electronic musics, and both analytic and continental philosophy.

Tomás McAuley is Assistant Professor of Music and Ad Astra Fellow at University College Dublin. Previously, he held postdoctoral positions at the University of Cambridge (British Academy Postdoctoral Fellowship) and Indiana University, and from 2010 to 2018 served as Founding Chair of the Royal Musical Association Music and Philosophy Study Group. He is author of The Music of Philosophy: German Idealism and Musical Thought, from Kant to Schelling, forthcoming with Oxford University Press.
Nanette Nielsen is Associate Professor at the University of Oslo. She joined Oslo in January 2015, after having been Associate Professor and Lecturer at the University of Nottingham (2009-15) and at the University of East Anglia (2005-9). Nielsen works on music and philosophy, especially intersections between ethics and aesthetics, on film music, opera and music criticism in the Weimar republic, and on Scandinavian music and culture. Her publications include the co-written book Music and Ethics (2012), the article 'Ernst Krenek's "problem of freedom" in Jonny spielt auf' (Twentieth-Century Music, 2013) - for which she won the 2014 Jerome Roche Prize - and the monograph Paul Bekker's Musical Ethics (2017).
Jerrold Levinson is Distinguished University Professor of Philosophy Emeritus at the University of Maryland and Past President of the American Society for Aesthetics, 2001-2003. He is the author of five collections of essays, Music, Art, and Metaphysics (1990, 2nd ed. 2010), The Pleasures of Aesthetics (1996), Contemplating Art (2006), Musical Concerns (2015), and Aesthetic Pursuits (2016), plus a monograph, Music in the Moment (1998). Levinson is also editor of Aesthetics and Ethics (1998), The Oxford Handbook of Aesthetics (2003), and Suffering Art Gladly (2013), as well as co-editor of Aesthetic Concepts (2001) and Art and Pornography (2012).
Ariana Phillips-Hutton is a Visiting Lecturer in Music at the University of Cambridge. Her research centres on the philosophy, performance, and politics of contemporary music, with specialisations in memory, violence, and conflict transformation. Recent publications include journal articles in Twentieth-Century Music, Popular Music, and the Journal of the British Academy, and she is also the author of Music Transforming Conflict (2020).

Introduction
Tomás McAuley, Nanette Nielsen, and Jerrold Levinson
Part 1: Mapping the Field
1. Historical Musicology and Philosophy
Julian Johnson
2. Music Theory and Philosophy
Alexander Rehding
3. Ethnomusicology and Philosophy
Ellen Koskoff
4. Analytic Philosophy of Music
David Davies
5. Continental Philosophy of Music
Christopher Norris
Part 2: History
6. Ancient Greece
Armand D'Angour
7. The Middle Ages
Elizabeth Eva Leach
8. The Early Modern Period
Bruce R. Smith
9. The Enlightenment
Tomás McAuley
10. The Nineteenth Century
Andreas Dorschel
11. The Twentieth Century
Tamara Levitz
Part 3: Philosophical Traditions and Practices
12. Epistemologies
Ian Cross and Elizabeth Tolbert
13. Ethics
Ariana Phillips-Hutton and Nanette Nielsen
14. Phenomenology
Simon Høffding
15. Ontology
Charles O. Nussbaum
16. Theology
Jeremy Begbie
17. Philosophy of Language
Hanne Appelqvist
18. Hermeneutics
Lawrence Kramer
19. Deconstruction
Naomi Waltham-Smith
20. Posthumanism
Gary Tomlinson
Part 4: Musical Traditions and Practices
21. Improvisation
Bruce Ellis Benson
22. Composition
Joseph Dubiel
23. Performance
Paul Thom
24. Listening
Marcel Cobussen
25. Vocal music
Freya Jarman
26. Electronic music
Joanna Demers
27. Popular music
Theodore Gracyk
28. Blacksound
Matthew D. Morrison
29. Jazz
Garry L. Hagberg
30. Opera
Michael Fend
Part 5: Key Concepts
31. Absolute Music
Sarah Collins
32. Consciousness
David Clarke
33. Evolution
Stephen Davies
34. Expression
Mark Evan Bonds
35. Gender
J.P.E. Harper-Scott
36. The Ineffable (and Beyond)
Carolyn Abbate and Michael Gallope
37. Meaning and Autonomy
Max Paddison
38. Meaning and Scepticism
Paul Boghossian
39. Mercy
Martha C. Nussbaum
40. Nature
Stephen Decatur Smith
41. Making Sense
Andrew Bowie
42. Society
Michael Gallope
43. Space
Andrew Kania
44. Time
Christopher Hasty
Part 6: Collisions and Collaborations
45. Authenticity
Julian Dodd and John Irving
46. Beauty
Nick Zangwill and Stephen Hinton
47. Emotion
Michael Spitzer and Derek Matravers
48. Enchantment
Scott Burnham and Gordon Graham
49. Expectations
Jenny Judge and Bence Nanay
50. Galant Music
Jean-Luc Nancy, trans. Naomi Waltham-Smith and Jerrold Levinson, with an introduction by Naomi Waltham-Smith
Naomi Waltham-Smith
51a. Perception
Christopher Peacocke
51b. Response to Christopher Peacocke: Perception
Nicholas Cook
52a. Subjectivities, Susan McClary
52b. Response to Susan McClary: Subjectivities
Jeanette Bicknell