on the divide: analytic and continental philosophy of music

My 2017 essay, “On the Divide: Analytic and Continental Philosophy of Music,” which was published in The Journal of Aesthetics and Art Criticism, is one of the top-downloaded articles in the journal’s recent publication history. (By January 2018, the article had been downloaded 549 times.)

For an interesting response to my essay see Andreas Vrahimis, “Is There a Methodological Divide between Analytic and Continental Philosophy of Music? Response to Roholt.” In The Journal of Aesthetics and Art Criticism (Volume 76, no. 1, 2018).

reviews/musings on groove

Follow these links for reviews and discussions of my book Groove: A Phenomenology of Rhythmic Nuance. I really appreciate the time these reviewers and writers invested in the book.

from the author’s perspective: groove

I’ve written a fairly lengthy piece—”From the Author’s Perspective: Groove: A Phenomenology of Rhythmic Nuance”—which appears in the new American Society for Aesthetics Newsletter. Here is the opening paragraph:

How should we understand the relationship between music and body movement? The common view is that a listener’s body movement is a reaction to, an effect of, perceiving music. I don’t doubt that this is, in part, correct. I claim in Groove, however, that moving our bodies is often something that we do in order to grasp certain rhythmic qualities; our movement is an integral part of a perceptual skill for grasping qualities such as a groove. We know that the perception of music is not passive; I view bodily movement as a component of one’s active perception of music. To develop this, I draw upon the phenomenologist Maurice Merleau-Ponty’s account of embodied perception, emphasizing his notion of motor intentionality. Before we get to this, though, let’s take a few steps back…

Read the rest here:  35.1

my writing

Roholt CV

“Being-with Smartphones” (under review)

“On the Divide: Analytic and Continental Philosophy of Music,” The Journal of Aesthetics and Art Criticism 75, no. 1 (2017): 49–58

“From the Author’s Perspective: Groove: A Phenomenology of Rhythmic Nuance”
(a piece written especially for the American Society for Aesthetics Newsletter, Spring 2015)

Groove: A Phenomenology of Rhythmic Nuance (Bloomsbury Academic, 2014)

Key Terms in Philosophy of Art (Bloomsbury Academic, 2013)

“In Praise of Ambiguity: Musical Subtlety and Merleau-Ponty,” Contemporary Aesthetics 11 (2013)

“Philosophy of Music,” in The Grove Dictionary of American Music, second edition. Ed., Charles Hiroshi Garrett, (Oxford University Press, 2013). Also published online at Grove Music Online (Oxford Music Online, Oxford University Press)

“Continental Philosophy and Music,” in The Routledge Companion to Philosophy and Music. Eds., Theodore Gracyk and Andrew Kania (Routledge, 2011)

Musical Musical Nuance,” The Journal of Aesthetics and Art Criticism 68 (2010): 1-10

“Musical Experience, Philosophical Perspectives,” in The Oxford Companion to Consciousness. Eds., Tim Bayne, Axel Cleeremans, and Patrick Wilken (Oxford University Press, 2009) Also published online at Oxford Reference