Response to Christopher Peacocke: Perception
Aestheticians set out principled ways of thinking about music, but usually at the expense of the inclusive approach demanded by today’s pluralistic musical culture. In this response I welcome the openness of Peacocke’s approach, suggesting some relational properties of music additional to those he discusses: the “topics” of eighteenth-century music, which condense metaphorical “hearing-as” into historical stereotypes; performance style, which always involves reference to or play with other styles; the constructions of social relationship that music affords, whether real or imagined; and history, which raises the issue of the relationship between aesthetics and the historical other. When Peacocke, like other aestheticians, says “we hear structure”, who are “we”? And who does “we” exclude? If we define music as “ours” in relation to historical or cultural others, can there actually be an aesthetics that is both principled and inclusive?