![]() ![]() Secondly, it shows how modern and avant-garde music were received in Portugal, in concerts, courses, public discussions, reviews, and through the policies of the institutions. The first chapter defines the historical and aesthetic context: Culture in Portugal in the Estado Novo and the European musical avant-garde in he fifties and sixties, which is of paramount importance towards the understanding of this generation, their careers and works. The composers that are studied (particularly) through their solo piano works are: Filipe de Sousa (b. This research has as its main focus a group of Portuguese composers who were very active between 19, which is commonly regarded as the Portuguese musical avant-garde. Finally, I conclude by offering an account of how we perceive, understand, appreciate, and interpret sophisticated musical representations. I then explore a number of ways through which music has been claimed to represent in order to show how my theory accounts for them better than its rivals. Next, I respond to a number of objections to the very possibility of musical representation. Influenced by recent discussions in the Philosophies of Mind and Science, I begin by arguing that composers represent extra-musical objects, events, and states of affairs by exploiting antecedent structural resemblances between their works and their subjects. ![]() The first step is to naturalize music’s representational content. I argue that once we overcome the bias of conceiving of musical works as essentially linguistic items, speech acts (performed) or sentence tokens (written), and take music on its own terms, we can begin to discover how they represent. As a result, representational content has been taken to be purely conventional in the way that sentential meaning is. Most theories assimilate representation under “meaning,” which has usually been thought to belong primarily to language. Resemblance theories, such as the one I offer, are generally maligned in Philosophy. The debate surrounding music’s status as a representational art, which began during the nineteenth, has been recently revived within the Philosophy of Music. My dissertation defends the place of representation in music. ![]()
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