Listening to Other Minds: A Phenomenology of Pop Songs

British Journal of Aesthetics 60 (4):435-453 (2020)
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Abstract

This paper explores some phenomenological consequences of the ontological affinity between films and pop songs. Given the central place of the recording technology in both films and pop songs, one can wonder whether pop songs can elicit from their listeners the same kind of experience that films elicit from their spectators. In other words, one can wonder whether pop songs encourage us to play a ‘game of make-believe’ analogous to that we play when we engage with films. The main part of the paper is meant to provide a positive answer to this question. The remaining sections illustrate and test the proposed account by contrasting paradigmatic pop songs with borderline cases.

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Enrico Terrone
Università degli Studi di Genova

References found in this work

What is it like to be a bat?Thomas Nagel - 1974 - Philosophical Review 83 (4):435-50.
What is it like to be a bat?Thomas Nagel - 2004 - In Tim Crane & Katalin Farkas (eds.), Metaphysics: a guide and anthology. New York: Oxford University Press.
What is it like to be a bat?Thomas Nagel - 2014 - In Josh Weisberg (ed.), Consciousness (Key Concepts in Philosophy). Cambridge, UK: Polity.
Fiction as a Genre.Stacie Friend - 2012 - Proceedings of the Aristotelian Society 112 (2pt2):179--209.
Making tracks: The ontology of rock music.Andrew Kania - 2006 - Journal of Aesthetics and Art Criticism 64 (4):401–414.

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