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In this article we confront the ineffability of music to seek out a tenable conception of profound depths being plumbed in many such works. We take our initial bearings from the writings of the late Peter Kivy, who was a musically trained thinker and tackled the subject no less than four times. Our main interest lies in his outright dismissal of the idea. However, the scaffolding of his arguments reveals that he privileges the discursive metier without any evidence in his (...) support. Hence the bulk of the article is devoted to an analysis of the criteria relevant to this form of experience and to the construction of a more tenable perspective. It will be shown that the issue of profundity in music cannot be segregated from the implications of our reactions and responses to literature and, by extension, to the arts as a whole. (shrink)

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In the mid-eighteenth century music underwent a sudden and drastic revolution when composers “discovered” a new dimension to their art. This had immense repercussions on the philosophy of art, for the music created before and after this divide represents two different species of aesthetic experience, which in due course affected our understanding of the meaning and import of the other arts as well. Despite the immense aesthetic repercussions of this Copernican revolution in music, philosophers of art seem not to have (...) taken much notice of it. This essay details the emergence of the relevant musical criteria during the eighteenth century and dwells on their long-term impacts on the philosophy of art. (shrink)

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All the way back in 1916, in the middle of the Great War, the prominent Homer scholar Ulrich Wilamowitz-Moellendorf wrote: “More and ever more the challenge narrows down to the crucial issue for me...

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