For example, he has produced only one monograph about music, offers us an excellent précis of that monograph in "Concatenationism, Architectonicism, and the Appreciation of Music." Levinson lays out concatenationism (the view that moment-to-moment listening is what matters most in music appreciation) and its rival, architectonicism (the view that conscious awareness of large-scale form is essential in the appreciation of many works), and addresses the main points of contention between the two camps.
(Although Levinson is responding to Peter Kivy's 2001 criticisms of that book's thesis and argument, it is not necessary to read any of this background material in order to benefit from this essay.) Elsewhere, "The Aesthetic Appreciation of Music" offers, in 15 pages, a consolidation of all that Levinson has previously said on the topic, while "Indication, Abstraction, and Individuation" is an admirably clear articulation of his important and highly original contribution to the ontology of music and literature.
This song touches me and always brings tears in my eyes because it makes me think about everything that I have done to break away from the man he was.
Another reason I listen to music Is because it is very soothing. When I go up to the plate I want a song that will calm me down, a song that I used last year was opinion should not affect my life in any way.
Without music, I do not know how different my life would me.
Jerrold Levinson's new book gathers together eight recent papers on philosophy of music, an older co-authored paper on the nature of the temporal arts, and three previously unpublished essays about music.
I didn’t really care what other people thought and was going to have people like me for who I am, not who I should be.
This is when I started to listen to a lot more country music.
First, for those who possess a philosophical interest in music (or art generally) but know nothing of Levinson's contributions to these topics, it is an ideal entry point into his established œuvre.
Second, there is a good deal here for those of us at the opposite pole, who've followed his work for decades, as he pauses to reconsider and update his past claims about musical value and meaning.