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SAMANTHA MATHERNE
ABSTRACT
Several prominent philosophers of art have worried about whether Kant has a coherent theory of musi
perceived tensions in his view. First, there appears to be a conflict between his formalist and expressive
(and even worse), Kant defends seemingly contradictory claims about music being beautiful and merely
beautiful. Against these critics, I show that Kant has a consistent view of music that reconciles these ten
Kant, music can be experienced as either agreeable or beautiful depending on the attitude we take towa
tempting to think he argues that we experience music as agreeable when we attend to its expressive qu
when we attend to its formal properties, I demonstrate that he actually claims that we are able to judg
only if we are sensitive to the expression of emotion through musical form. With this revised understan
of music in place, I conclude by sketching a Kantian solution to a central problem in the philosophy of m
is not sentient, how can it express emotion?
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130 The Journal of Aesthetics and Art Criticism
"expressive formalism," according to whichone weonly wants to know whether the mere representa-
can judge music as beautiful only if we are sensi-
tion of the object is accompanied with satisfaction in me,
tive to the expression of emotion through musical
however indifferent I might be with regard to the exis-
form. In which case, far from regarding emotion
tence of the object of this representation. It is readily
as irrelevant or a hindrance to our experience of that to say that it is beautiful . . . what matters is
seen
music, Kant both accepts and insists that emotion
what I make of the representation in myself.13
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Matherne Kanťs Expressive Theory of Music 131
beautiful we judge the object to be an object of judging subject and the beautiful object. He calls
universal and necessary satisfaction. That is to say, this relation "purposiveness" and suggests that we
we take the pleasure we have in the object to be take the object to be purposive for our mental ca-
one that should be felt by all judgers and is de- pacities, that is, for bringing about free play in us.20
manded of any judger: "If [someone] pronounces Now, according to Kant, it is, in particular, the ob-
that something is beautiful, then he expects the ject's form that we judge to be purposive: "The
very same satisfaction of others: he judges not judgment of taste has nothing but the form of the
merely for himself, but for everyone, and speaks purposiveness of an object ... as its ground."21
of beauty as if it were a property of things."15 While what exactly Kant means by a "form of
Kant elaborates on the nature of this sharable purposiveness" is a vexed issue that we cannot
pleasure by arguing that it has a unique prove- address fully here; for our purposes, I want to fo-
nance: it is grounded in the "free play" or "har-cus on the connection Kant appears to draw in the
Third Moment between the form of purposiveness
mony" of our cognitive capacities, specifically, our
imagination (our capacity for spatially and tem- and the formal properties of a work of art.22 Hav-
porally organizing what we intuit) and under- ing introduced his general conception of a form
standing (our capacity for thought). In ordinary of purposiveness in §§12-13, in §14 Kant offers an
cognition, Kant maintains that the imagination "Elucidation
is by means of examples."23 It is this
"constrained" by the understanding: it organizes section, in particular, that suggests Kant takes the
our intuitions in such a way that the understand-form of purposiveness to be related to the formal
ing can apply concepts to them.16 By contrast, features
in of a work of art because he argues that
judgments of taste, Kant suggests that this con- "what constitutes the ground of all arrangements
for taste is . . . what pleases through its form."24
straint can be lifted, and our imagination and un-
derstanding can engage in "free play." On my With in- painting, for example, he maintains that in
order to judge it to be beautiful, we must focus
terpretation, free play involves, on the one hand,
our imagination being free to organize what on we the formal arrangement of its lines, that is, its
underlying "drawing," and its shapes.25 He makes
perceive into a variety of spatial or temporal pat-
terns. For example, I can see Botticelli's Venus a similar claim about music: in order to judge a
piece of music to be beautiful, what we must at-
organized according to a threefold structure, fore-
ground and background structure, and so on. tend On to is the formal composition [Komposition]
the other hand, our understanding no longer of hasthe piece, that is, its melody, harmony, rhythm,
to apply a single concept to what we perceive;and it so on.26 Summing up this line of thought, he
asserts that " drawing in [painting] and composi-
is free to think of different themes that unify this
tion in [music] constitute the proper object of the
representation. For example, is it ethereal beauty,
tranquility, or the meeting of heaven and earth pure judgment of taste."27
that dominates Botticelli's Venus ?17 And when Even if there is more to the form of purposive-
ness than the formal features of an object, Kant
both the imagination and understanding operate
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132 The Journal of Aesthetics and Art Criticism
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Matherne Kanťs Expressive Theory of Music 133
instead,
Every expression of language has, "he feels asa if
in context, his entire
tone that happiness were
lost."46that this tone more
is appropriate to its sense [Sinne];
Following the
or less designates [bezeichnet] an affect Scottish physician
[Affekt] of theJohn Brown,
Kant further
speaker and conversely also produces onedivides
in theaffectshearer,
into two subspecies:
'sthenic'
which then in turn arouses in the affects, which
latter the involve
idea excitation,
[Idee] and
'asthenic'
that is expressed in the language byaffects,
means which of
involve debilitation
such a or
tone.36 weakening.47 He claims that whereas sthenic
or 'masculine' affects come "from strength [aus
Indeed, he claims that our ability to communicate Stärke] and "excite [erregenden] the vital force,"
with one another depends on the "language of asthenic or 'feminine' affects come "from weak-
affects," something he thinks is "universally com- ness [aus Schwäche ]" and "relax [abspannenden]
prehensible to every human being."37 the vital force."48 He draws the same distinction,
It is worth dwelling on the notion of an 'affect' albeit with different labels, in the third Critique ,
because it will help clarify Kant's view of emo- where he argues that an affect can be of the
tions more generally as well as the role he sees "courageous sort," in which case it "arouses the
them playing in music. Kant tends to divide emo- consciousness of our powers to overcome any re-
tions into two species: passions and affects.38 Pas- sistance {animi strenui )" or it can be of the "yield-
sions, on his view, are emotions connected to the ing kind," in which case it "makes the effort at
faculty of desire and some end we have a "sen- resistance itself into an object of displeasure (ani-
sible desire" or "inclination" for.39 For example, mum languidum)."49 Affects such as grief, feeling
your passion for revenge is connected to your de- shy, or feeling cowardly would fall in the asthenic
sire to take vengeance on a particular person.40 category, whereas affects like courage, joy, and
Given that passions are connected to practical (presumably) being stirred [Rührung] would fall
reason in this sense, Kant thinks that they tend in the sthenic.50
to develop over time, as we reflect on what we With this picture of affects in place, we can now
desire: "[Passion] takes its time and reflects, no return to the third Critique. As we saw above, Kant
matter how fierce it may be, in order to reach its argues that in ordinary conversation, we must be
end."41 An affect, by contrast, is the kind of emo- sensitive to what affects are being communicated
tion that is connected to our feelings of pleasure through someone's tone in order to fully under-
and displeasure and, for this reason, tends to arise stand what she is saying. And he sees music as
"quickly" or "rashly" in response to a situation we the art form that is most closely connected to this
presently find ourselves in, for example, a sudden feature of communication. Summarizing his view
feeling of joy.42 As Kant sometimes puts it, af- in the Anthropology , Kant claims that "sounds [in
fects involve "surprise through sensations."43 Un- music] are tones , ... a communication of feel-
like passions which are borne of reflection, Kant ings [Gefühle] at a distance to all present within
suggests that affects "make reflection impossible" the surrounding space."51 More specifically, in the
and are, therefore, "imprudent [ unbesonnen ]."44 third Critique , Kant argues that in a piece of mu-
We must be careful at this point, however, for al- sic, a composer "puts [the] language [of affects]
though unbesonnen is translated as 'thoughtless,' into practice for itself alone, in all its force."52 Typ-
Kant's point is not that affects are necessarily dis- ically, when we listen to someone, we use her tone
connected from thought altogether. Rather, his as a means to understand the thought she is trying
point is that they arise suddenly, and this prohibits to convey. By contrast, in music, Kant suggests a
a certain type of reflection, namely, "the lack in composer calls attention to those affectively laced
reflection in comparing this feeling with the sum tones themselves, focusing on them for their own
of all feelings (of pleasure and displeasure)."45 sake.53 For example, whereas in conversation my
As we might make this point, when we are in lamenting tone might communicate my sadness at
the grips of an affect, we lose perspective as to not being able to drink this champagne, a com-
whether the intensity of that affect is appropriate. poser can put that lamenting tone on display for
To use Kant's example, when a servant breaks a itself, say, through a blaring tuba, without neces-
rich man's "beautiful and rare crystal goblet," the sarily using it to express any further thought.
rich man becomes irate and is not able to consider However, given the intimate connection Kant
that, on the whole, the loss is of little significance;describes between music and emotions in these
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134 The Journal of Aesthetics and Art Criticism
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Matherne Kanťs Expressive Theory of Music 135
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136 The Journal of Aesthetics and Art Criticism
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Matherne Kanťs Expressive Theory of Music 137
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138 The Journal of Aesthetics and Art Criticism
However,
agreeable; if, by contrast, iteven
isif we can never beby
guided sure what
free ex- pla
and reflective contemplation, then
actly motivates us, Kant we we
clearly thinks cannever- judg
theless have
it as beautiful. Frequently wean obligation
do not to try and fulfill our thes
choose
moral duty. Likewise
mindsets; we are unconsciously in the aesthetic into
shunted case, eventhem
However, according tothoughKant, we may webe uncertain
canas switch
to the ultimate from
a judgment of the agreeable
source of our pleasure
to ain judgment
a piece of music, we can of th
beautiful if we rely on nevertheless make an attempt to judge it from a
less egocentric perspective.
a faculty forjudging that in Itits
is at reflection
this point that I wish to return
takes to the
account {a
role of of
priori) of everyone else's way free representing
play in musical experience.
in Since
though
Kant clearly
in order as it were to hold its maintains
judgmentwe can experience
up to musichuma
reason as a whole. ... Nowas beautiful,
this then he must, pace by
happens Kivy, think
one music
holdin
his judgment up not so can much
induce freeto
play the actual
in us. I wish to suggestas
thatto th
merely possible judgmentsKant's
of expressive
others, formalism
andis putting
the key to seeing
himse
how thiselse,
into the position of everyone is possible. It is perhaps fairly
merely by straight-
abstractin
from the limitations that forward how music might engage
contingently attachthe freeto
play our
of ow
judging.98 our imagination: the formal features of the piece
present us with material we can organize and re-
Kant's language in this passage indicates that there organize as we listen, for example, hearing strings
is something we can do to change how we judge a of notes as melody lines, hearing resolution from
work of art: through a reflective effort, we can try a minor to a major chord, holding temporally dis-
and step back from our own personal proclivities tant parts of the piece together, and so on. The
and look at the piece from a more impartial point real problem appears to arise when we ask how
of view. This appears to be a matter of choosing music can appeal to the understanding. Since mu-
to adopt one mindset over another." sic, Kant thinks, "speaks through mere sensations
However, this raises a second question: are we without concepts" and "does not . . . leave be-
ever in a position to know whether we are judging hind something for reflection," how could it ever
a piece to be beautiful or agreeable? This worry engage our understanding?102
about uncertainty is one that Allison, for exam- In the first place, it should be noted that the fact
ple, has emphasized: "Even though [Kant] does that music speaks without concepts is not necessar-
not say it in so many words, the clear implica- ily a problem within the Kantian framework. For,
tion of Kant's analysis is that we can never be on Kant's view, "that is beautiful which pleases
certain in any instance that we have made the cor- universally without a concept."103 That is to say,
rect subsumption, that is, that one's judgment is in pure judgments of taste, our judgment is not
based solely on the relation of the faculties in free grounded in a concept but in sharable pleasure,
play."100 It may be right that, on Kant's view, we that is, "universal satisfaction."104 Even so, there
are not able to know exactly what motivates us is nevertheless a difference between representa-
when we judge a work of art; however, I take this tional works of art, that is, works of art that repre-
to be a problem not particular to judgments of sent concepts we are familiar with, and music. For
taste, but rather to judgments about our motives. music, according to Kant, relies primarily on for-
For we find Kant raising a similar problem in the mally structured tones (sensations), not concepts,
Groundwork , where he argues that we cannot ever to communicate to us. However, even if the vehicle
be certain whether our motives for an action stem of communication is not conceptual, the content of
from duty or self-love: what is communicated, namely, an aesthetic idea,
still engages our understanding. For, as we saw
For at times it is indeed the case that with the acutest self- above, musical aesthetic ideas involve a "coherent
examination we find nothing whatsoever that- besides whole of an unutterable fullness of thought." So
the moral ground of duty- could have been powerful even if music does not speak through concepts, it,
enough to move us to this or that good action, . . . but nevertheless, presents us with a wealth of thought,
from this it cannot be inferred with certainty that the real in which case, music can stimulate our understand-
determining cause of the will was not actually a covert ing, and, thus, the worry that it cannot elicit free
impulse of self-love.101 play should be removed. And, once again, we find
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Matherne Kant's Expressive Theory of Music 139
that on Kant's view the emotive character of music Even still, one might worry that even if Kant
is not 'extra-aesthetic'; to the contrary, our ability is not committed to the view that music moves us
to experience free play and so make judgments of in the way specific to being stirred, nevertheless
taste about music depends upon our appreciation he would endorse the view that whatever affect is
of musical form as expressive of emotion. expressed will be aroused in the listener; for ex-
ample, if the music is sad, I will feel sad. A closer
look, however, reveals that Kant, in fact, offers us
V. KANT AND CONTEMPORARY THEORIES OF MUSICAL an alternative to such an arousal theory. To see
EXPRESSION this, we need to remind ourselves of the reflective
nature of judgments of the beautiful. As we saw
In this article, I tried to demonstrate, first, that
above, in
unlike judgments of the agreeable or good
spite of what seem like contradictions in thathis ac- desire, judgments of the beautiful are
involve
count, Kant does have a coherent theory contemplative
of music. and involve reflection. And it is in
Second, I have argued that we can appreciate theof reflection that our cognitive capac-
this space
coherence of his view only if we recognize
ities are
thatable to engage in the free play, which,
expression is not ancillary but central to in turn,
his produces sharable pleasure in us. Apply-
view.
By way of conclusion, I want to consider ingwhere
this to music, rather than claiming that mu-
sic merely arouses emotions in us, Kant should
Kant's views should be situated within contempo-
rary approaches to musical expression and say that
what our judgments of music involve reflec-
distinctive contribution he can make. Intion and the free play of our cognitive capacities.
particu-
lar, I want to discuss Kant's relation to three Indeed, he should say that when we experience
popu-
lar views of expression in music: the arousal music as beautiful, we fruitfully contemplate how
view,
the persona projection view, and the resemblance an aesthetic idea of a dominant affect is expressed
view. through the formal properties of a piece. For ex-
Let us begin with the arousal theory, according ample, I can listen to Chopin's so-called "Sadness"
to which a piece of music expresses anÉtude emotion
in E major without myself feeling sad, but
only if that emotion is aroused in the listener.105 instead noticing how he uses the melody, harmony,
This is the view that has been most often attributed rhythm, dynamics, and so on, to convey this af-
to Kant.106 Kivy has been most explicit about this, fect. When we understand Kant's view in this light,
arguing that Kant uncritically buys into the vari- we find that far from endorsing the arousal the-
ety of the arousal theory popular in the eighteenth ory, Kant offers a compelling reflective alternative
century referred to as the ' Affektenlehre ': "It was to it.
natural, though regrettable, that Kant should ac- Another popular view I believe Kant would re-
quiesce in the old and familiar doctrine that music ject is what we could call the 'persona projection'
arouses the emotions through its representations theory, according to which we experience a piece
of the passionate accents of the human speak- of music as expressive of an emotion because we
ing voice."107 Yet it is not clear that Kant buys project a persona behind the piece who is express-
into this view wholesale. To be sure, Kant agrees ing that emotion.108 One of the main motivations
with other eighteenth-century thinkers who sug- for this theory is the claim that we take emotions
gest that music communicates emotions through to be something a being with a psychological state
tones. And, as we saw in our discussion of §14, expresses; for example, the sounds of your voice
he thinks it is possible for music to arouse a feel- express your delight or the bark of a dog expresses
ing of being stirred in us. However, we need not its fright. It has seemed to some natural to apply
read Kant as committed to the view that music this model of emotional expression to music, in
always arouses this emotion of being stirred. which
On case in order to experience music as ex-
his view, music expresses affects in general , that pressing an emotion, we must think that there is
is, both sthenic and asthenic affects. Given someone that (either the composer or some imaginary
being stirred is but one sthenic affect, therepersona) is a who is expressing herself through the
whole suite of other affects that could be at work music.
in a piece of music that need not stir us in the way I do not believe Kant would endorse such a
view. Recall that Kant claims music takes the lan-
Kant thinks is inappropriate in judgments of the
beautiful. guage of affects that normally underwrites our
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140 The Journal of Aesthetics and Art Criticism
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Matherne Kanťs Expressive Theory of Music 141
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142 The Journal of Aesthetics and Art Criticism
24. Kant, KU §14, 5:225, p.38.110. See Kant, Anthro §§73-88; KU §29, 5:272-274, pp.
25. Kant, KU §14, 5:225, p. 154-156; MS 6:407-408, and Immanuel Kant, "On Philoso-
110.
26. Kant, KU §14, 5:225, phers'
p. Medicine
110. Kant
of the mentions
Body," in Kant's Latin Writings: har-
mony and melody at KU §53, Translations,
5:329,Commentaries,
p. and Notes , trans.
206, and Mary Gre-
alludes to
gor, ed. Lewis
rhythm [Tact] in music at Anthro White Beck and
7:248, (New York: Peter Lang, 1986),
Reflexionen , ed.
pp. 228-243 (originally
Benno Erdmann (Leipzig: Fues's Verlag, published 1882),
1786). For a further
p. dis-
618 (KGS
cussion ofthat
15:266). Although it is not clear emotions inKant
Kant, see Maria
was Borges, "What Can
familiar with
the more modern conception KantofTeach form,
Us about Emotions?"
for The example,
Journal of Philoso- sonata
form, I agree with Kivy, who phy 101 (2004): 140-158, and
suggests "Physiology
that and Controlling
Kant's notion of
'composition' can accommodate of Affects in Kant's conception
this Philosophy," Kantian Reviewof13 (2008):
form: "If
composition in music is being 46-66. analogized to design in paint-
ing, then what Kant is referring 39. Kant, to Anthro
are 7:251.
the larger outlines of
musical form, sonata, theme-and-variations, 40. Kant, Anthro 7:270-271. rondo, and so
forth, even though he probably 41. Kant,hadAnthro no7:252; see also Anthro 7:267.
specific knowledge
of the particulars of musical forms, 42. Kant, KUand §29, 5:272
what n., p. 154 n.; Anthro
they are 7:251; MS
called"
("Designs á la Grecque," in Antithetical 6:407. Arts: On the Ancient
Quarrel Between Literature and 43. Kant, Music
Anthro 7:252.[Oxford University
Press, 2009], pp. 29-52, at p. 43). 44. Kant, Anthro 7:252, translation modified.
27. Kant, KU §14, 5:225, p.45.110. Kant, Anthro 7:254.
28. Kant, KU §14, 5:224, p. 46. Kant,
108. Anthro By 7:254. 'sensation,' here,
Kant has in mind what he earlier 47. Kant, Anthro 7:355. See Johnas
defines Brown,
an Theobjective
Elements
sensation, that is, a sensation of Medicine,
thatVolume is of I (London:
a sensible
J. Johnson, 1788),quality
sections of
an object, for example, color, LXVI-LXVIII.
texture, Brown offers a system of
sound, anddiseases,so and on
his (KU
§3, 5:206, p. 92). principle of organization stems from the distinction between
29. As Kant makes this point, two kinds "the
of affectsquality
in our bodies. More
of specifically,
the sensa- he ar-
tions [for example, of green guesor thatthe
all diseases fall in one oftone]
violin's two categories:
cannoteither be
assumed to be in accord in all they subjects,
are the result of overexcitation,
and it that is, 'sthenic' easily
cannot af-
be assumed that the agreeableness fects, or the result of of a one
lack of excitation
color or debilitation,
in prefer-
ence to another or of the tone of one musical instrument that is, 'asthenic' affects. Although a publication of this text
in preference to another will be judged in the same waywasby not available in Germany until 1794, Brown's ideas
everyone" (Kant, KU §14, 5:224, p. 109). were already in circulation and it appears Kant was fa-
30. Kant, KU §14, 5:226, p. 111. miliar with them either by 1786 or 1788, for he employs
31. This is the sort of formalism attributed to the a 'Brunonian' analysis of affects in his lecture "On Philoso-
nineteenth-century philosopher of music, Eduard Hanslick phers' Medicine of the Body" (which has been traced to
(see Thomas Grey, "Hanslick," in The Routledge Compan- either one of these dates). In addition to citing Brown in
ion to Philosophy and Music , pp. 360-370). the Anthropology and the "Medicine" lecture, he discusses
32. Kant, KU §14, 5:226, p. Ill, translation modified.
Brown at MS 6:207; Opus Postumum 22:300, 407; and Re-
flexionen,
As he makes this point in the Analytic of the Sublime, "the p. 1539 (KGS 15:963). For more on the relation-
ship between
feeling [Gefühl] of a momentary inhibition of the vital pow- Kant and Brown, see Gregor's introduction to
ers and the immediately following and all the more pow-
the "Medicine" lecture {Kant's Latin Writings, pp. 217-225);
Factual Note 65 at the end of Opus Postumum (22:270-271);
erful outpouring of them; hence as being stirred [Rührung]
it seems to be not play but something serious" (KU and §23,
Susan Shell, The Embodiment of Reason (University
5:245, pp. 128-129, translation modified). See also ofAnthro
Chicago Press, 1996), p. 369, n. 65. For more on the in-
fluence
7:243: "The sublime is therefore not an object for taste, butof Brown in Germany, especially after Kant, see
Nelly Tsouyopoulos, "The Influence of John Brown's Ideas
rather an object for the feeling of being stirred [Rührung]"
(translation modified). in Germany," Medical History 32, Supplement 8 (1988):
63-74. to
33. According to Schueller, the 'art of colors' refers
"non-representation pieces as created by the color 48. Kant. Anthro 7:255-256.
organ
. . . best known in Kant's day as emanating from the Abbé49. Kant, KU §29, 5:272, pp. 154-155.
Castel's color piano" ("Immanuel Kant and the Aesthetics 50. Insofar as being stirred involves a feeling of inhibi-
of Music," p. 218). tion followed by the outpouring of the vital force, it will ul-
34. Kant, KU §51, 5:320, p. 198. Kant, in fact, thinks
timately produce excitation and, therefore, is sthenic. How-
of the expression at stake here as the expressionever, of aes-
it should also be clear that being stirred by no means
thetic ideas (a topic we come to shortly): "The reader
exhaustsis all sthenic affects. Consider the phenomenological
to judge this only as an attempt to judge of the combina-
difference between being stirred and other sthenic affects,
tion of the beautiful arts under one principle, whichsuch as courage which involves "composure of the mind
in this
case is to be that of the expression of aesthetic ideas
to take (inon fear with reflection," hope which involves "the
accordance with the analogy of language)" (KU §51, 5:323,
unexpected offering of the prospect of immeasurable good
p. 200 n.). fortune," exuberant joy "which is tempered by no concern
35. Kant, KU §51, 5:320, p. 198. about pain," or feeling puzzled which involves the mind be-
36. Kant, KU §53, 5:328, pp. 205-206. ing "arouse[d] to collect itself for reflection" (Kant, Anthro
37. Kant, KU §53, 5:328, p. 206. 7:256, 255).
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Matherne Kanťs Expressive Theory of Music 143
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144 The Journal of Aesthetics and Art Criticism
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Matherne Kant's Expressive Theory of Music 145
a talent
112. For example, see Davies, Musical for art,
Meaning and[genius]
Ex- presupposes a
pression , and Kivy, Sound Sentiment. cept of the product, as an end" (Kan
p. 195).
113. This is a core thesis of the Affektenlehre .
114. Kant, KU §49, 5:315, 5:316, 115.
pp. Marcel Proust,194.
193, Swann's Way
While, trans. Lydia Davis
(New York:
in these passages Kant claims that Penguin Books,
aesthetic 2002), pp.con-
ideas 362-363. I would
tribute to an enlargement of the like to thank Karl at
concept Ameriks, John A. Fisher,
stake, he Pierre
is Keller,
Lara Ostaric,
using the term 'concept' in a broad sense Peterto
Thielke, Joseph Tinguely,
refer not Clinton
to Tolley,
Reed Winegar,but
a representation of the understanding, Melissa to
Zinkin, and two
the anonymous referees
"end"
the artist wants to bring about through
for helpful feedbackthe piece: "As
on this article.
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