Abstract

I suggest in this paper that Professor Peacocke has given an elegant and, it seems to me, successful account of how we hear in music, metaphorically, various extra-musical properties, among them the much vexed expressive ones. I argue that what Peacocke now must do, as the next step in his project, is to tackle the normative question of when, particularly in the case of absolute music, we are justified in hearing in the music what, on his account, we can hear in it.