Against Jazz Combo Theories of Meaning and Reference

The “jazz combo theory” captures the common spirit of various theories that reject reference and the “bottom up” approach to the problem of objective representational content. We can imagine the members of a jazz combo initially playing together without any shared musical norms. But they continually adjust to one another until norms emerge and are mutually endorsed. Players start holding one another to these norms, and it’s this that gives the sounds they produce—what would otherwise be mere noise—determinate musical content. Similarly, on the jazz combo theory, what would otherwise be productions of meaningless strings by language users, come to constitute determinate linguistic acts with determinate propositional contents, by virtue of the users adopting, and holding one another to, a shared set of linguistic and discursive norms. This chapter argues that jazz combo theorists overstate the case against reference, although they’re right in stressing the importance of norms and their dependence on social interaction. Jazz combo theorists tend to reject bottom-up approaches, including causal theories, because they take those approaches to be incompatible with the explanatory priority of the sentence and to fail to bridge the supposed gap between cause and norm. A number of conceptual tools are introduced to counter their arguments and to defend the consistency of the dynamic priority of the sentence, the syntactic correlativity of sentences and their constituents, and the semantic priority of constituents.