Professional Documents
Culture Documents
Statement of Purpose 1
Project Background 2
Literature Review 4
Research Gaps 10
Research Objectives 12
Research Methodology 13
Timeline 15
Chapter Outline 17
Significance of Project 18
Bibliography 19
"1
Statement of Purpose
towards articulating one such waya view defined by ostension and its role in infant language
acquisitionand subsequently defending and demonstrating its artistic, and especially musical,
utility. To do this, I will begin by summarizing some recent defenses of the communicative across
diverse artistic media, drawing on a large and interdisciplinary swath of literature, and making
connections between literary theory, visual art criticism, film theory, analytic philosophy, and
aesthetics. A focused investigation of the dialectic surrounding music in particular will follow,
revealing how the musical art form raises unique communicative issues for composers,
performers, listeners, music theorists, and philosophers of music. Ostension (and auxiliary
concepts like joint presence and enactive perception), I will then argue, provides a particularly promising
answer to these uniquely musical issues, in part because it involves the embodiment of human
performance). If ostension is powerful enough to allow infants to enter into language for the first
time, it should also be a promising tool for artistic communicators, especially within those art
forms, like music, to which physical movement is ubiquitous. Finally, having laid out a case for
and the possibilities of an ostension-based view of communicative music, I will use this view to
describe my own compositional practice, and to analyze selections from Helmut Lachenmanns
Project Background
A communicative view of art requires sufficiently robust expressive and interpretive junctures.
That is, a communicative artwork must be able to retain the expressed intentions of the artist in
"2
such a way that they might be successfully recovered, and subsequently interpreted, by a
artworks are centuries old, but recent books from visual art historians and critics Todd Cronan
and Michael Fried articulate similarly shaped defenses of the necessity of these robust
communicative junctures in visual artworks. Both Cronan and Fried take aim at artworks which
aspire to a mechanistic or causal relationship with the beholder and both prescribe similar
remedies that function to grant a degree of autonomy to the artwork, allowing for the possibility
of a genuine understanding or misunderstanding the artwork by the beholder. Many worries, however,
spring from such a view, especially a concern that in eschewing affect, Cronan and Fried neglect
something crucial about the experience of artworks. This basic problemthe difficulty of
imagining communicative artworks which are sufficiently open to experience and understandingis
especially exacerbated, I will argue, by the idiosyncrasies of the musical art-form, leading to a
musical debates in the last century have been particularly fixated on an ontological view of
artworks. In the last decade or so, analytic philosophers of music like Julian Dodd, Jerrold
Levinson, and Ben Caplan, have been having vibrant debates explicitly regarding issues of
musical work ontology. In the realm of music theory, Dimitri Tymoczko and Fred Lerdahl have
also tended to approach musical works as objects, either by seeking causally relevant
model the cognitive structures underlying musical perception.2 Such an ontological focus has
1 Dimitri Tymoczko, Basket Cases, Music Theory Spectrum 34.1 (2012): 153-154.
2 Fred Lerdahl and Ray Jackendoff, The capacity for music: What is it, and whats special about it? Cognition 100.1
(2006): 33-72.
"3
not been confined to theorists, either, but can be seen as central to many of the most prominently
tradition, Milton Babbitts view of the composer-specialist, spectral analysis, and the relatively
new musical genre of sonification. Even some practices which appear to be oriented toward
That so many recent musical conversations are dominated by the ontological orientation
is due, I believe, to certain idiosyncrasies of the musical art form itself. I will define four such
performer to instrument, sound to audience, etc.), the unique pull of abstraction in music, musics
passive listener problem, and finally, musics unique relationship to conventional and syntactical views of
language. These four musical idiosyncrasies all contribute, I will argue, to a deep skepticism in
music regarding the possibility of artistic communication, and thus encourage a turn toward the
prevalence of ontological orientations in music can be understood as the result of an acutely felt
failure to address general communicative problems. As one example, consider how musics many
communicative junctures make the task of reliably carrying the intentions of the composer through
each of these juncturesfrom the composers mind, to written score, to performer, to audience
incredibly difficult. Furthermore, imagine that, in light of this difficulty, a composer were to
turn to language for an answer, rightfully thinking that language is our most secure method of
reliable communication across media. When this turn to language also failsas it does, I will
argue, in two ways: conventionally and syntacticallythe stasis and tangibility of the ontological
All of this is to say that the task of the contemporary composer wishing to communicate
with her music is especially daunting, as is that of the performer or audience member hoping to
interpret such a communicative act. In fact, the composers and the interpreters tenuous position is
analogous, I will argue, to that of the pre-linguistic infant who must find her way into language
for the first time, an achievement both staggering and ubiquitous. This analogy, along with a defense
of its deep musical utility, lies at the very center of my dissertation. My argument will be that the
same powerful toolostensionwhich allows the infant to accomplish this incredible task can
also be invaluable for musical communication and, by extension, for musical analysis.
Literature Review
In his book Against Affective Formalism, Todd Cronan, using Henri Matisses creative life as a
guide, investigates how works of art are meaningful and how that meaning might be conveyed.3
At the heart of Cronan's book is a critique of affective or beholder response theories, under which the
experience of the beholder of the work is identical to the works meaning. Instead, Cronan favors
a theory centered on artist intentions. (A view similar to the kind Cronan criticizes has been put
forward in musical terms by both Stephen Davies and Eric Shouse. The former argues that
musical expression is dependent on listener response,4 while the latter claims music as
communication is not possible under anti-intentional or affective theories, as it is the artistic object,
not the artist, which interacts with the beholder under such views. This critique of object-oriented
3 Todd Cronan, Against Affective Formalism (Minneapolis: University of Minnesota Press, 2014).
4Stephen Davies, "On Defining Music, Monist 95.4 (2012): 535-55 and Stephen Davies, Musical Works and
Performances (Oxford: Clarendon, 2001).
5 Eric Shouse, "Feeling, Emotion, Affect, M/C Journal 8.6 (2005).
"5
Frieds work on the visual arts, particularly in his seminal essay Art and Objecthood.6
Frank Farrell makes a similar argument regarding artistic meaning in his book, Why Does
Literature Matter? Farrells concern lies not with affective formalism, but with the linguistic turn, a
philosophical orientation which regards texts as meaningful only in how they relate to other texts.
Drawing on Ludwig Wittgenstein and Donald Davidson, Farrell argues that meaning in literature
and poetry requires a more complex triangulation of relationshipsbetween self, text, and the
external worldthan the linguistic-centered view allows. As with Cronan, the upshot of Farrells
communication, contrasted with a flattening out of meaning which occurs when artworks are
detached from subjects or from the world, and seen merely as an intertextual web.7
In the last two decades there has been a marked resurgence of analytic philosophy of
music. One frequent contributor to this literature is Julian Dodd, who, in his book Works of Music:
An Essay in Ontology and many related journal articles, has defended musical Platonism.8 (Peter
Kivy also defends a version of musical Platonism.)9 Dodds Platonism is motivated by the
this way: there have been countless performances of Beethovens Eroica, each of them are
different, and so no single performance can simply be the work. Furthermore, it seems strange to
say that only the score is the work, or that the work is some amalgamation of performances and/
or scores. Dodds platonism solves the multiplicity problem by positing musical works as eternal,
6 Michael Fried, Art and Objecthood: Essays and Reviews. (Chicago: University of Chicago Press, 1998).
7 Frank Farrell, Why Does Literature Matter? (Ithaca: Cornell University Press, 2004).
8Julian Dodd, Works of Music: An Essay in Ontology (Oxford: Oxford University Press, 2007) and Julian Dodd,
Confessions of an Unrepentant Timbral Sonicist, The British Journal of Aesthetics 50.1 (2009): 33-52.
9 Peter Kivy, Music, Language, and Cognition (Oxford: Clarendon, 2007).
"6
abstract types which can be instantiated in multiple varied tokens, like scores or
performances. The problem of multiplicity is nearly identical to what I have described as the
Other analytic philosophers have taken issue with Dodds platonism, preferring instead
creationist views which see works of art as necessarily tied to their creators. Some creationists view
musical works as abstract indicated types,10 other nominalist views see musical works as
concrete particulars,11 while still other action theorists see musical works as compositional
actions.12 While the vocabulary and methodology of analytic philosophy is unique, the rift
between creationism and platonism mirrors the arguments Cronan and Farrell are involved in:
between views which place special value in the expressive dimension (creationism, Cronans
intentionalism, Farrells non-linguistic meaning), and those which do not (affective formalism, the
The ontological focus of much of the recent analytic philosophy of music has also been
orthogonal to more pressing concerns.15 In the continental tradition, the philosopher Andrew
Bowie has also offered strong rebukes of an ontological approach in philosophy generally, and in
philosophy of music in particular. Drawing on his scholarship of German Idealist and Early
Romantic philosophy, Bowie suggests, that philosophy is actually not very good at establishing
the real nature of things and that, musics meaning might lie precisely in the fact that we
cannot say in words what it means.16 Robert Pippin, another scholar of German philosophy, has
suggested something similar regarding the mediums of film and painting, which he describes as
linguistic formulations.17 I will argue that ostension, itself pre-linguistic and yet firmly
The most important piece of literature to this dissertation is Chad Engellands Ostension:
Word Learning and the Embodied Mind, which examines the difficult question of how infants learn
their very first words and the broad philosophical repercussions of understanding communication
Aristotle, Engelland describes the crucial role that physical movement plays in conveying
triangulation between infant, adult, and the objects in their shared environment which allows for
a joint presence necessary for language acquisition. The social nature of language acquisition
has been famously explicated by Ludwig Wittgenstein, who in his Philosophical Investigations
described language as use, as grounded in the way we navigate our environment.19 Since then,
16 Andrew Bowie, Music, philosophy, and modernity (Cambridge: Cambridge Univ. Press, 2009).
17Robert B. Pippin, After the beautiful: Hegel and the philosophy of pictorial modernism (Chicago: The University of Chicago
Press, 2015).
18 Chad Engelland, Ostension (Cambridge, MA: MIT Press, 2014).
19 Ludwig Wittgenstein, Philosophical Investigations (Oxford: Basil Blackwell, 1967).
"8
many philosophers have since picked up this language-as-use thread, including Donald
Davidson (who plays a large role in both Engellands and Farrells work), and more recently Barry
Stroud, who has attempted to elucidate the commonalities between Wittgenstein's and Davidsons
Ostension has also been studied by cognitive scientists and psychologists. Several cognitive
scientists working at Lausanne University in Switzerland have conducted studies tracking self-
referential behaviors in pre-linguistic infants. They argue that the very first steps towards
acquiring language consist of ostensions toward oneself, which are made possible only in the
presence of others.21 Psychologist Adam Croom also argues for a Wittgensteinian view of
language acquisition which takes place within a socio-linguistic community. 22 Crooms work is
bolstered by several psychological studies, some involving infant word acquisition, others
involving perceptual learning, and still others measuring the effects of culture on the aesthetic
views of children. Developmental and comparative psychologist Michael Tomasellos large body
of work on both infant language acquisition and great ape cognition will also contribute to the
psychological literature on ostension, providing insight into the differences between humans
primate cousins.23 Andrea Schiavio and Simon Hffding, though they have not explicitly dealt
with ostension, have studied what they call interactive intentionality in musical performance by
20Barry Stroud, "Ostension and the Social Character of Thought, Philos Phenomenol Res Philosophy and
Phenomenological Research 67.3 (2003): 667-74.
21
Christiane Moro, Virginie Dupertuis, Sandrine Fardel, and Olivia Piguet, "Investigating the Development of
Consciousness through Ostensions toward Oneself, Cognitive Development 36 (2015): 150-60.
22Adam M. Croom, "Aesthetic Concepts, Perceptual Learning, and Linguistic Enculturation, Integrative Psychological
and Behavioral Science 46.1 (2011): 90-117.
23 Michael Tomasello, Cultural Learning Redux, Child Development 87.3 (2016): 643-653.
"9
conducting qualitative interviews with the Danish String Quartet.24 Their findings lead them to
challenge current theories of Joint Musical Attention which suggest that interaction between
head. Schiavio and Hffding instead favor a theory which privileges the concrete (inter)actions
Schiavio and Hffdings study, being so focused on intentionality and movement, has a
clear relationship to ostension. But the authors do not use this term, instead speaking of an
enactive account. The connection between ostension and enactive approaches can also be seen
in Alva Nos Action in Perception, a book which again involves a criticism of overly in-the-head or
ostension has to do with how intentions are conveyed in movement, No argues that perception is
also predicated on movement. For No, perception is something one achieves, something one
does, not something that happens to or within someone.25 Nos and Engellands books both share
movement, not merely inferred. For No, it is the importance of the body in Merleau-Ponty's
theory of perception that is crucial, particularly Merleau-Pontys famous observation that vision
is palpation with the look, that vision is much more like touch than is normally supposed as both
are predicated on sensorimotor knowledge. John McDowells work on the conceptual articulation
of perceptual experience also appears both in Nos and Engellands books, as well as playing a
24Andrea Schiavio, and Simon Hffding. "Playing Together without Communicating?" Musicae Scientiae 19.4 (2015):
366-88.
25 Alva No, Action in Perception (Cambridge, MA: MIT Press, 2004).
26 Maurice Merleau-Ponty, Phenomenology of Perception (London: Routledge, 1962).
"10
role in Farrells and Pippins.27 This will aid in connecting Nos enactive account back to the
broader artistic concerns broached at the beginning of this dissertation. Along those same lines,
No has also more recently written a book on art, positing that artworks are strange tools
which interrupt and reorganize our lives. 28 He sees art-making as akin to philosophy, as
preoccupied with the ways we are organized and with the possibility of reorganizing ourselves.
Embedding his artistic ontology within a lived context, Nos project is indebted to John Deweys
Art as Experience, in which he describes art as an interaction of an organic self with the world. 29
Research Gaps
As I see it, there are three gaps which exist in the current research surrounding my topic.
The first is the gap between the literature of recent analytic philosophy of music and the
literature which typically emanates from musicians and musical scholars. When musicians
interface with philosophy or aesthetics, they tend to look mostly to well-known continental
philosophers (Heidegger, Adorno, Derrida, etc.), and largely ignore recent analytic philosophy. I
hope to bridge this gap in my dissertation by demonstrating that, despite their very different
musicologists/music theorists are often making similar arguments regarding the nature of
musical works and how those works relate to composers and interpreters.
If, as I will argue, the art-form of music does indeed raise unique concerns regarding
artistic communication, it follows that we ought to be asking how one might go about
communicating with music. It seems reasonable to turn to the study of language for such
27 John Henry McDowell, Mind and World: with a new introduction (Cambridge: Harvard University Press, 2003).
28 Alva No, Strange Tools: Art and Human Nature (New York, NY: Hill and Wang, 2015).
29 John Dewey, Art as Experience (New York: Minton, Balch, 1934).
"11
answers, and indeed, promising answers come in the form of ostension (the embodiment of
intention in physical movement) and auxiliary concepts like joint attention (how the world is shared
intersubjectively), and enactive perception (a theory that perception is also predicated on physical
movement). What makes ostension and these related concepts so promising as compositional
tools is threefold. First, ostension is potentially relevant to each of the many junctures of
communicative transfer found in musical performance: from the composers mind to the page,
from the page to the performer, from one performer to another, and from the performance to the
musical performance. Third, ostension is amphibious, fusing the causal (movement) with the
rational (intention), and allowing for the genuinely expressive or interpretive interactions in music
which are so often ignored in the ontologically-dominated musical discourse. This application of
ostension (and related concepts) to musical communication is the second research gap. Ostension
has been widely studied in regards to childhood language acquisition, but has not been discussed
tool. Theories of enactive perception have been fleetingly discussed in terms of performers
interactions with each other, but never as equally relevant to other musical junctures, those
The third research gap follows from the second. Because ostension and its related
concepts have never been investigated as compositional tools, they have also never been used as
lenses for music-theoretical analysis. In the final section of my dissertation I plan to fill this gap by
Research Objectives
My project thus has three research objectives. The first goal is to organize a large and
diverse swath of literature regarding the nature of art, to condense and clarify disparate
vocabularies found within that literature, to categorize schools of thought across different
disciplines, to excavate the various general views of subject-object interaction contained therein,
and to attempt to explain why literature about music in particular takes the shape it does. I will
address the following questions: What are the prominent dialectical fault-lines shared by analytic
philosophy of music, continental philosophy, aesthetics, art criticism, music theory, musicology,
etc.? To what extent can the vocabulary of these disparate disciplines be condensed and clarified?
Which broader views of subject-object interaction are these different views consistent with? What
are the distinguishing features of the conversation surrounding music in particular? What
The second goal of my project is to describe and defend the musical relevance of
ostension. This will involve elucidating ostensions role in language acquisition and defending
applying ostension to the unique problems of musical communication, and then re-examining
recent compositional in light of ostension. Relevant questions include: How does Ostension allow
the pre-linguistic infant to enter language? To what extent is perception predicated on movement
(or sensorimotor knowledge)? What role can ostension play in the many communicative junctures
ostension-oriented view of communication? What other musical problems does the use of an
My third and final goal is to apply ostension and its subsidiary concepts to analysis. This
will involve first detailing how I have introduced these concepts into my own compositional
thinking. Then, I will analyze particular pieces of music by Helmut Lachenmann and Gyrgy
Kurtg, and describe how the ostension-based approach differs from other traditional analytic
approaches. I will address these questions: How have I implemented these ideas in my own
music, and what have the challenges been? What is Lachenmanns relationship to movement in
his music? How can Lachenmanns use of performer movement be described as ostensive or
enactive? What is Kurtgs relationship to movement in his music? How does Kurtgs concept of
the trace relate to ostension? How does an ostension-shaped analytical strategy differ from
Research Methodology
and summarizing this literature in order to extract relevant arguments. This literature will come
from the following categories: recent analytic philosophy of music, visual art criticism (drawn
from the work of Michael Fried and Todd Cronan), continental philosophy (with an emphasis on
work related to Merleau-Ponty), literary criticism and philosophy (especially as related to the
linguistic turn as described by Frank Farrell), and musicology and music theory. I choose these
categories (and the particular names attached to them) in part because they constitute a fairly
representative cross-section of artistic media, but also because they deal very directly with issues
the question of authorial intention, for examplewhich can be kept in play during subsequent
In fulfilling my second goal, I will rely heavily on Chad Engellands Ostension and Alva
Nos Action in Perception and Strange Tools to define and defend those two intertwined concepts of
ostension and enactive perception, and how they can be construed musically. Several of
Engellands and Nos most important sources will also be investigated, including the work of
many names (Merleau-Ponty, Davidson, Wittgenstein) familiar from the literature review above.
In addition to these books, a selection of articles from cognitive science and psychology will be
perception.30 A study by Andrea Schiavio and Simon Hffding will also be referenced to
musicians. 31
As my final goal is oriented towards analysis, primary sources will come into play in the
form of musical scores and composer interviews. Lachenmanns and Kurtgs words will be
assessed for ostensive or enactive language, and their notational practices will be compared in
light of this language.32 More specifically, Lachenmanns focus on movement in performance and
Kurtgs focus on movement in pre-compositional notation will be contrasted. With this contrast
in mind, I have selected Lachenmanns Ein Kinderspiel and Kurtgs Jatekok (Games) for analysis33.
Both of these works are for piano, making a comparative analysis of performative physicality
more feasible than one involving disparate instrumentations would be. Furthermore, both works
contain complicated and nuanced expressions of a child-like relationship to music, and thus point
30Moro, "Investigating the Development of Consciousness through Ostensions toward Oneself, 150-60 and
Croom, "Aesthetic Concepts, Perceptual Learning, and Linguistic Enculturation, 90-117.
31 Schiavio, "Playing Together without Communicating? 366-88.
32David Ryan and Helmut Lachenmann, Composer in Interview: Helmut Lachenmann, Tempo 210 (1999): 2024,
and Blint Andrs Varga, Gyrgy Kurtg: Three Interviews and Ligeti Homages, Rochester: U of Rochester Press, 2009.
33Gyrgy Kurtg, Jatekok (Budapest: Edito Musica Budapest, 1979) and Helmut Lachenmann, Ein Kinderspiel
(Leipzig: Edition Breitkopf, 1980).
"15
strongly toward the core analogy of this entire project: that of the composer (and performer, and
Timeline
I plan on defending my dissertation in the Spring of 2018 with the bulk of my research
and writing taking place during the Fall and Winter of the 2017-18 academic year. Both of my
Qualifying Exams have been passed; my Preliminary Exam will take place in September 2017.
dissertation involves culling a large swath of literature, there is quite a bit of reading involved,
and the lions share of this has been done. All of the books, articles, and essays that I need to
begin writing are already in my possession, and a copious amount of notes have been taken. I
have also written a number of papers over the last few years that are relevant to my topic. These
include a paper I wrote for philosophy professor Dan Korman debunking Julian Dodds musical
platonism, a presentation on Music and the Everyday which compares photographys and
musics relationships to the external world through Wittgenstinian and ostensive lenses, a paper
and a subsequent presentation on John Cages musical ontology, a paper on the music of Gyrgy
Kurtg involving both Michael Frieds and Todd Cronans critique of objecthood as well as Frank
Farrells critique of the linguistic turn, and a paper and presentation regarding how
ostension and enactive perception as musical tools, and analyzing music using these tools build
on each other, so I plan on writing my paper more or less in order and in three distinct phases.
"16
The first phase is currently in motion and will continue through the Fall of 2017. During
this time I have been rereading secondary literature in analytic philosophy, aesthetics, art
criticism and musicology, extracting and categorizing the views contained therein, and gradually
The second phase will take place during the winter of 2017, and will involve rereading
the literature regarding ostension and enactive perception, explaining these concepts, and then
defending a view that, in the context of musical performance, the composer, the performer, and
indeed the audience can be productively seen as analogous to the pre-linguistic infant. Ostension
and enactive perception will thus have to be redescribed in musical terms, and a practical
Finally, the third phase, taking place in the early months of 2018, will entail an analysis
of musical works by myself, Lachenmann, and Kurtg using the vocabulary developed in the
previous section. The words of these two composers will also be contextualized through primary
sources during this phase. As in the other phases, I have already begun work on this analysis as it
was included in my second Qualifying Exam last year. If time allows, I will also write a short
postscript suggesting how this view of the musical relevance of ostension has the potential to
Chapter Outline
First, it is my hope that this dissertation will provide a way for analytic philosophers of
music to better interface with musicians and scholars of music. Sadly, recent analytic literature on
musical practice. Likewise, musicians will also be provided with a way to connect with an oft-
Its also important to me that the musical contextualization of ostension has value apart
from its novelty, that ostension is not merely a helicoptered-in buzzword, but addresses a
fundamental musical issue with a solution native to the practice of music. When fashioned as a
musical tool, ostension provides a promising mode of inquiry into fundamental difficulties in
music composition, performance, and reception. Furthermore, it does so through the use of a
Finally, as alluded to above, I believe that the communicative view afforded by ostension
pedagogues and as citizens. Pedagogically, ostension reminds us that learning is activeas Karl
Popper put it, knowledge is not a fluid that can poured from person to personand that it is
never-endingthere is no place of perfect knowledge that our students or that we will ever reach.
Like the grasping pre-linguistic child, we teachers should be curious, humble, and determined.
Wrought politically, ostension exists at the nexus of two extremes: conversation and violence.
There are nuances in between, of course, but the difference is stark, and there may be nothing
more consequential to the health of our polis than how we come to understand, and then
navigate, that difference. I believe that music can play a role in providing such understanding.
"19
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"20
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Literary Theory
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Visual Arts
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