Philosophy of Music Series, Part I

‘Music of stature can be played over and over again with interest and satisfaction and the realization of what can or what should be done with a particular movement or a particular passage may only become clear after dozens of even hundreds of repetitions… indeed, a mark of greatness has always been that we need to re-encounter and constantly reassess.’ — R.A. Sharpe, The Philosophy of Music

Some musical compositions share aesthetic qualities that enable the listener and the composer to reciprocally participate in the creative act, and a sympathetic listener might find that music creates a knowledge and experience that was hitherto unknown. But if this is true, is it possible to claim that music contains meaning independent of the listener? Why does the music that moves you to tears bore another to death? On what basis can one claim that Johann Sebastian Bach’s music is more significant than Taylor Swift’s? Can 4 minutes and 33 seconds of silence actually be called music?

This symposium is the first in a three part series that engages with a musical composition and considers it through the lens provided by R.A. Sharpe’s Philosophy of Music. In Part I, we will consider selections from J.S. Bach’s Goldberg Variations arranged for string quartet. The ability to read music is not a requirement for participation, only the ability to listen thoughtfully and open oneself to the possibility of being transformed.

Participation in this symposium is by invitation only. For more information, please contact the Academic Director at dcarl.ici@protonmail.com.