Popular Song as Moral Microcosm: Life Lessons from Jazz Standards
In a recent paper devoted to my topic, music and morality, my fellow philosopher of music Peter Kivy makes a helpful tripartite distinction among ways in which music could be said to have moral force. The first is by embodying and conveying moral insight; Kivy labels that epistemic moral force. The...
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| Veröffentlicht in: | Royal Institute of Philosophy supplement 2012-10, Vol.71, p.51-66 |
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| creator | Levinson, Jerrold |
| description | In a recent paper devoted to my topic, music and morality, my fellow philosopher of music Peter Kivy makes a helpful tripartite distinction among ways in which music could be said to have moral force. The first is by embodying and conveying moral insight; Kivy labels that epistemic moral force. The second is by having a positive moral effect on behavior; Kivy labels that behavioral moral force. And the third is by impacting positively on character so as to make someone a better human being; Kivy labels that character-building moral force. |
| doi_str_mv | 10.1017/S1358246112000264 |
| format | Article |
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| ispartof | Royal Institute of Philosophy supplement, 2012-10, Vol.71, p.51-66 |
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| language | eng |
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| source | Cambridge University Press Journals Complete |
| subjects | Epistemology Ethics Instrumental music Morality Musical performances Musicians & conductors Quality Singers |
| title | Popular Song as Moral Microcosm: Life Lessons from Jazz Standards |
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