Peter Kivy

Selected Publications

Books:

• Speaking of Art (The Hague: Martinus Nijhoff, 1973).
• Francis Hutcheson's Inquiry Concerning Beauty, Order, Harmony, Design, edited and collated with an introduction The Hague: Martinus Nijoff, 1973).
• Thomas Reid's Lectures on the Fine Arts, transcribed from the manuscript with an introduction (The Hague: Martinus Nijoff, 1973).
• The Seventh Sense: A Study of Francis Hutcheson's Aesthetics, and its Influence in Eighteenth-Century Britain (New York: Burt Franklin, 1976).
• The Corded Shell: Reflections on Musical Expression (Princeton: Princeton University Press, 1980).
• Sound and Semblance: Reflections on Musical Representation (Princeton: Princeton University Press, 1984).
• Osmin's Rage: Philosophical Reflections on Opera, Drama and Text (Princeton: Princeton University Press, 1988).
• Sound Sentiment: An Essay on Musical Emotions (Philadelphia: Temple University Press, 1989).
• Music Alone: Philosophical Reflections on the Purely Musical Experience (Ithaca: Cornell University Press, 1990).
• Sound and Semblance (2nd ed.; Ithaca: Cornell University Press, 1991), with a new afterword by the author.
• Essays on the History of Aesthetics (Rochester: Rochester University Press, 1992), edited with an introduction.
• The Fine Art of Repetition: And Other Essays in the Philosophy of Music (London and New York: Cambridge University Press, 1993), the collected essays on music of Peter Kivy.
• Authenticities: Philosophical Reflections on Musical Performance (Ithaca: Cornell University Press, 1995).
• Philosophies of Arts: An Essay in Differences (New York: Cambridge University Press, 1997).
• Osmin's Rage: Philosophical Reflections on Opera, Drama, and Text, second edition, with a new preface and concluding chapter (Ithaca: Cornell University Press, 1988).
• New Essays on Musical Understanding (Oxford: Clarendon Press, 2001), more collected essays of Peter Kivy.
• The Possessor and the Possessed: Handel, Mozart, Beethoven and Idea of Musical Genius (New Haven: Yale University Press, 2001).
• Introduction to a Philosophy of Music (Oxford: Oxford University Press, 2002).
• The Seventh Sense: Francis Hutcheson and Eighteenth-Century British Aesthetics, second edition, revised and enlarged (Oxford: Clarendon Press, 2003).
• The Blackwell Guide to Aesthetics (Oxford: Blackwell, 2004), edited with an Introduction.
• The Performance of Reading: an Essay in the Philosophy of Literature (Oxford: Blackwell, 2006).
• Music, Language, and Cognition: And Other Essays in the Philosophy of Music, further collected essays of Peter Kivy (Oxford: Oxford University Press, 2007).
• Antithetical Arts: On the Ancient Quarrel Between Literature and Music (Oxford: Oxford University Press, 2009). Chinese Translation of The Blackwell Guide to Aesthetics, trans. Peng Feng (Nan Jing: Nan Jing University Press, 2008).
• Korean Translation of The Possessor and the Possessed (London: Sam & Parkers, and Yale University Press, 2010).

Translations of my books:

• Nuevos ensayos sobre la comprehension musical, trans. Veronica Canales (Barcelona: Paids, 2005). Spanish translation of New Essays on Musical Understanding.
• Filosofia della musica: Un'introduzione, trans. Alessandro Bertinetto (Torino:Giulio Einaudi, 2007). Italian translation of Introduction to a Philosophy of Music.
• Estetica: Fundamentos e questoes de Filosofia da Arte, trans. Euclides Luiz Calloni (Sao Paulo: Paulus, 2008). Portuguese translation of The Blackwell Guide to Aesthetics.

Articles:

• "Stimulus Context and Satiation," with Robert W. Earl and Edward L. Walker, Journal of Comparative and Physiological Psychology, IL (1956).
• "Charles Darwin on Music," Journal of the American Musicological Society, XI (1959).
• Herbert Spencer and a Musical Dispute," Music Review, XXIII (1964).
• "Mainwaring's Handel: its Relation to English Aesthetics," Journal of the American Musicological Society, XVII (1964).
• "Child Mozart as an Aesthetic Symbol," Journal of the History of Ideas XVIII (1967).
• "Hume's Standard of Taste: Breaking the Circle," British Journal of Aesthetics, VII (1967).
• "Aesthetic Aspects and Aesthetic Qualities," Journal of Philosophy, LXV (1968).
• "Lectures on the Fine Arts: an Unpublished Manuscript of Thomas Reid's" Journal of the History of Ideas, XXXI (1970).
• "What Mattheson Said," Music Review, XXXIV (1973).
• "Ends, Means, and the Quality of Life," Ecology and the Quality of Life, ed. Sylvan Kaplan and Evelyn Kivy-Rosenberg (Springfield: Charles C. Thomas, 1973).
• "Aesthetics and Rationality," Journal of Aesthetics and Art Criticism, XXXIV (1975).
• "What makes 'Aesthetic' Terms Aesthetic?," Philosophy and Phenomenological Research, XXXVI (1975).
• "The Logic of Taste: Reid and the Second Fifty Years," Thomas Reid: Critical Interpretations, ed. Stephen F. Barker and Tom L. Beauchamp (Philadelphia: Philosophical Monographs, 1976).
• "A Logic of Taste - The First Fifty Years," Aesthetics: A Critical Anthology, ed. George Dickie and Richard Sclanfani (New York: St. Martin's Press, 1977).
• " 'Seems' and 'Is'," Proceedings of the Seventh International Congress of Aesthetics, Vol. II (Bucharest, 1977).
• "The Point of it All: An Answer to Professor Hyde," Philosophy and Phenomenological Research, XXXIX (1978).
• "Thomas Reid and the Expression Theory of Art," The Monist, LXI (1978).
• "Aesthetic Concepts: Some Fresh Considerations," Journal of Aesthetics and Art Criticism, XXXVI (1979).
• Introduction to Charles Burney's Account of the Musical Performances in Westminister-Abbey (New York: Da Copa Press, 1979).
• "Voltaire, Hume, and the Problem of Evil," Philosophy and Literature, III (1979).
• "A Failure of Aesthetic Emotivism," Philosophical Studies, XXXVIII (1980).
• "Melville's Billy and the Secular Problem of Evil: the Worm in the Bud," The Monist, LXIII (1980).
• "The Myth of Artistic Singularity," Proceedings of the Ninth International Congress of Aesthetics (Dubrovnik, 1980).
• "Socrates' Discovery: Some Historical Reflections," Journal of Aesthetics and Art Criticism, XXXIX (1981).
• "Secondary Senses and Aesthetic Concepts: A Reply to Professor Tilghman," Philosophical Investigations, IV (1981).
• "Sound Sentiment: A Reply to Donald Callen," Journal of Aesthetics and Art Criticism, XLI (1983).
• Hume's Neighbor's Wife: An Essay in the Evolution of Hume's Aesthetics," British Journal of Aesthetics, XXIII (1983).
• "Mattheson as a Philosopher of Art," The Musical Quarterly, LXX (1984).
• "Mozart and Monotheism: An Essay in Spurious Aesthetics," The Journal of Musicology, II (1983).
• "Platonism in Music: A Kind of Defense," Grazer Philsophische Studien, XIX (1983).
• "Aesthetics," The Harvard Dictionary of Music (Cambridge: Harvard University Press, 1986).
• "It's Only Music: So What's to Understand?," Journal of Aesthetic Education, XX (1986).
• "Platonism in Music: Another Kind of Defense," American Philosophical Quarterly, XXIV (1987).
• "Orchestrating Platonism," Festerschrift for Goren Hermeren (Lund, Sweden, 1988).
• "Live Performances and Dead Composers: On the Ethics of musical Interpretation," Human Agency (Stanford: Stanford University Press, 1988.)
• "On Historically Authentic Performance," The Monist, LXXI (1988).
• "Seeing (and so forth) is Believing (among other things): On the significance of Thomas Reid for the History of Aesthetics," The Philosophy of Thomas Reid, ed. Melvin Dalgarno and Eric Matthews (Dordrecht: Kluwer, 1989).
• "Something About Hanslick," Journal of Aesthetics and Art Criticism, XLVI (1988).
• "Hearing the Emotions," Philosophic Exchange, Nos. 19-20 (1988-89).
• "What was Hanslick Denying?," The Journal of Musicology, VIII (1990).
• "A New Music Criticism?," The Monist, LXXIII (1990).
• "Opera Talk: A Philosophical Phantasie," Cambridge Opera Journal, II (1990).
• "The Profundity of Music," Proceedings of the 11th International Congress of Aesthetics (Nottingham, 1990).
• "Science and Aesthetic Appreciation," Midwest Studies in Philosophy vol. XVI: Philosophy and the Arts, ed. Peter A. French, Theodore E. Uehling, Jr. and Howard K. Wettstein (Notre Dame, Indiana: University of Notre Dame Press, 1991).
• "Is Music an Art?," Journal of Philosophy, LXXVIII (1991).
• "Kant and the Affektenlehre: What He Said, and What I wish He Had Said," Kant's Aesthetics: North American Kant Society Studies in Philosophy, vol. 1, ed. Ralf Meerbote (Atascadero, California: Ridgeview, 1991).
• "Oh Boy! You Too! Aesthetic Emotivism Reexamined," The Philosophy of A. J. Ayer: The Library of Living Philosophers, vol. XXI, ed. L.E. Hahn (La Salle, Illinois: Open Court, 1992).
• "Listening: A Response to Alperson, Davies and Howard," Journal of Aesthetic Education, XXVI (1992).
• "Hutcheson's Idea of Beauty: Simple or Complex?," Journal of Aesthetics and Art Criticism, L (1992).
• "Composers and 'Composers': A Response to David Rosen," Cambridge Opera Journal, IV (1992), pp.179-186.
• "From Ideology to Music: Leonard Meyer's Theory of Style-Change" (review article on Meyer's Style and Music), Current Musicology, IL (1992), pp. 66-80.
• "How Did Mozart Do It?: Living Conditions in the World of Operas," Peter Kivy, The Fine Art of Repetition And Other Essays in the Philosophy of Music (London and New York: Cambridge University, 1993).
• "How Did Mozart do It?: Replies To Some Critics," Kivy, The Fine Art of Repetition.
• "The Fine Art of Repetition," Kivy, The Fine Art of Repetition.
• "Auditors' Emotions: Contention, Concession and Compromise," Journal of Aesthetics and Art Criticism, LI (1993).
• "Differences" (Presidential Address to American Society for Aesthetics), Journal of Aesthetics and Art Criticism, LI (1993), pp. 123-132.
• "Speech, Song, and the Transparency of Medium: A Note on Operatic Metaphysics," Journal of Aesthetics and Art Criticism, 52 (1994).
• "Hume's 'Sentiments' in the Essay of Taste," Aesthetic Matters: Essays presented to Gran Srbom on his 60th Birthday, ed. Lars-Olaf Ahlberg and Tommie Zaine (Uppsala, 1994).
• "From Literature as Imagination to Literature as Memory: A Historical Sketch," Institutions of Art: Reconsiderations of George Dickie's Philosophy, ed. Robert J. Yanal (University Park: Penn State Press, 1994).
• "Feeling the Musical Emotions," British Journal of Aesthetics, 39 (1995).
• "Kant, Music, and the Modern System of the Arts," Paradigms of Philosophy, ed. Liubava Moreva and Igor Yevlampiev (St Petersburg, Russia, 1995).
• "On the Banality of Literary Truths," Philosophic Exchange, Number 28, (1998).
• "Gurney, Edmund," Encyclopedia of Aesthetics, ed. Michael Kelly (Oxford and New York: Oxford University Press, 1998), vol. 2, pp. 342-346.
• "How to Forge a Musical Work," Journal of Aesthetics and Art Criticism, 85 (2000).
• "Sibley's Last Paper," Aesthetic Concepts: Essays After Sibley, ed. Emily Brady and Jerrold Levinson (Oxford: Clarendon Press, 2001).
• "On the Historically Informed Performance," British Journal of Aesthetics, 42 (2002).
• "Intentional Forgeries and Accidental Versions: A Response to John Dilworth," British Journal of Aesthetics, 42 (2002).
• "Jokes Are a Laughing Matter," Journal of Aesthetics and Art Criticism, 61 (2003).
• "Continuous Time and Interrupted Time: Two-Timing in the Temporal Arts," Musicae Scientiae, Discussion Forum 3 (2004).
• "Reid's Philosophy of Art," The Cambridge Companion to Thomas Reid, ed. Terence Cuneo and Ren Woudenberg (Cambridge: Cambridge University Press, 2004).
• "Music, Language, and Cognition: Which Doesn't Belong?," Truth, Rationality, Cognition, and Music, Proceedings of the Seventh International Colloquium on Cognitive Science, ed. Kepa Korta and Jesus M. Larrazabal (Dordrecht: Kluwer, 2004).
• "Ars Perfecta: Toward Perfection in Musical Performance?," The British Journal of Aesthetics, 46 (2006).
• "Mood and Music: Some Reflections for Noel Carroll," Journal of Aesthetics and Art Criticism, 64 (2006).
• "Critical Study: Deeper than Emotion," British Journal of Aesthetics, 46 (2006).
• "Another Go at Musical Meaning: Koopman, Davies, and the Meanings of 'Meaning,'" Contemporary Philosophy, Volume 9, Aesthetics and Philosophy of Art, ed. G. Flistad (Dordrecht: Springer, 2007).
• "Moodology: A Response to Laura Sizer," Journal of Aesthetics and Art Criticism, 65 (2007).
• "Moodophilia: A Response to Noel Carroll and Margaret Moore," Journal of Aesthetics and Art Criticism, 65 (2007).
• "The Perception of Beauty in Hutcheson's First Inquiry: A Response to James Shelley," British Journal of Aesthetics, 47 (2007).
• "John Balguy and the Sense of Beauty: A Rational Realist in the Age of Sentiment," Enlightenment and Dissent, No. 23 (2004-2007).
• "Musical Morality," Review Internationale de Philosophy, 62 (2008).
• Book Reviews:
• Review of Edward Lockspeiser, Music and Painting, Journal of Aesthetics and Art Criticism, XXXIII (1974).
• Review of Berel Lang, Art and Inquiry, Philosophy and Phenomenological Research, XXXVI (1975).
• Review of Justus Buchler, The Main Light, Philosophical Review, LXXXV (1976).
• Review of Alfred Brendel, Musical Thoughts and Afterthoughts, Journal of Aesthetics and Art Criticism, XXXVI (1978).
• Review of Jose A. Arguelles, The Transformative Vision, The Eighteenth Century: A Current Bibliography, II (1979), N. S.
• Review of Roger Sessions, Roger Sessions on Music, Journal of Aesthetics and Art Criticism, XXXVIII (1980).
• Review of Marie Antoinette Manca, Harmony and the Poet, Italian Quarterly, XXI (1980).
• Review of Stephen Pepper, Aesthetic Quality: A Contextualist Theory of Beauty, Retrospective Review Article, Journal of Aesthetics and Art Criticism, XL (1981).
• Review of Karl Ashenbrenner, Analysis of Appraisal Characterization, Journal of Aesthetics and Art Criticism, XLII (1984).
• Review of Wye Jamison Allenbrook, Rhythmic Gesture in Mozart, Dance Research Journal, XVII (1985).
• Review of Malcolm Budd, Music and Emotions, The Philosophical Quarterly, XXXVI (1986).
• Review of Anthony Savile, The Test of Time, International Studies in Philosophy, XVIII (1986).
• Review of Roman Ingarden, The Work of Music and the Problem with Its Identity, Journal of Aesthetics and Art Criticism, XLV (1987).
• Review of Don Harren, Word-Tone Relations in Musical Thought, Notes, Dec. (1987).
• Review of Paul Robinson, Opera Ideas from Mozart to Strauss, Cambridge Opera Journal, I (1989).
• Review of Nicholas Cook, Music, Imagination and Culture, Journal of Aesthetics and Art Criticism, L (1992).
• Review of William Stafford, Mozart's Death: A Corrective Survey of the Literature, Music and Letters, LXXIII (1992), pp. 594-595.
• Review of Anthony Savile, Kantian Aesthetics Pursued, Mind, 103 (1994).
• Review of Francis Sparshott, The Future of Aesthetics, The Philosophical Quarterly, 50 (2000).
• Review of Dabney Townsend, Hume's Aesthetic Theory: Taste and Sentiment, Journal of Scottish Philosophy, I (2003).
• Review of Alexander Broadie (ed.), Thomas Reid on Logic, Rhetoric and the Fine Arts: Papers on the Culture of the Mind, Eighteenth-Century Scotland: The Newsletter of the Eighteenth-Century Scottish Studies Society, No. 20 Spring (2006). 
• “Fictional Form and Symphonic Structure: An Essay in Comparative Aesthetics,” Ratio (new series), 22 (2009).
• “Leonard Meyer’s Sonata: First Theme and Second Theme,” Musica Humana, 1 (2009).
• “The Other Shoe: Some Thoughts for Christopher Peacocike,” British Journal of Aesthetics, 49 (2009).
• “The Experience of Reading,” A Companion to the Philosophy of Literature, ed. Gary L. Hagberg and Walter Jost (Chichester: Wiley-Blackwell, 2010).

 Book Reviews:

• Review of Ted Cohen, Thinking of Others, Journal of Aesthetics and Art Criticism, 68 (2010).