Theodore Gracyk
         Theodore Gracyk

 

Curriculum vitae

 

Current Position   
Professor of Philosophy, Minnesota State University Moorhead 

Education  
Ph.D. in Philosophy: 1984, University of California, Davis.
Dissertation: "Epistemological Sources of Kant’s Aesthetic Theory"
Dissertation Director: G. J. Mattey

Master of Arts in Philosophy, University of California, Davis, 1982.

Bachelor of Arts in Philosophy (Summa Cum Laude), 
Saint Mary's College of California
, 1979.

Areas of Specialization  
Aesthetics of Music, Philosophy of Art, History of Modern Philosophy

Areas of Competence  
History of Ethics, Kant, Applied Ethics, Critical Thinking, Epistemology

Teaching/Administrative Experience  

  • Professor of Philosophy, MSUM, 1997-present
  • Faculty Association President, MSUM, 2011-2015
  • Interim Dean, College of Education and Human Services, MSUM, 2000-2001
  • Associate Dean, College of Arts & Humanities, MSUM, 2000
  • Chair, Philosophy Department, MSUM, 1994-2000, 2003-2012
  • Associate Professor of Philosophy, MSUM, 1991-1997
  • Assistant Professor of Philosophy, MSUM, 1986-1991
  • Visiting Lecturer, California State University San Bernardino, 1984-1986
  • Instructor (2 courses), University of California Davis, 1982-84

Awards  

  • 2010 George Davie Prize Essay (best essay on the theme of Scottish Aesthetics)
  • 2007 Academic Affairs Council Award for University Service Excellence, Minnesota State University Moorhead. (Group award for university reaccreditation.)
  • 2004 Outstanding Advisor Award, College of Arts and Humanities, Minnesota State University Moorhead.
  • 2002 Academic Affairs Council Research Activity Award, Minnesota State University Moorhead. One of two awarded campus-wide annually.
  • Co-winner of The 2002 Woody Guthrie Award (the 2002 IASPM/US Book Award)
    (International Association for the Study of Popular Music)
  • 1998-99 Roland and Beth Dille Distinguished Faculty Lecturer Award, Moorhead State University. (One award is made annually.)
  • 1996 Academic Affairs Council Teaching Excellence Award, Moorhead State University. One of two awarded campus-wide annually.
  • 1996 Moorhead State University Nominee for Professor of the Year,  Council for Advancement and Support of Education (CASE).
  • 1982 Teaching Award for Outstanding Graduate Students, University of California Davis.

Selected Professional Service

Co-editor, The Journal of Aesthetics and Art Criticism, 2013-

Editorial Board, British Journal of Aesthetics, 2014-

Editorial Board, Journal of Music and Meaning, 2008-2012

Editorial Board, Volume!, 2012

Board of Trustees, American Society for Aesthetics, 2003-2006, 2013-

Program Chair, American Society for Aesthetics Annual Meeting 2007

Finance Committee, American Society for Aesthetics, 2009-2012, 2013-

Program Committee, American Society for Aesthetics Annual Meeting 2003

Book manuscript evaluator for Oxford University Press, Routledge, Wiley-Blackwell (and, formerly, Blackwell Publishing), Temple University Press, University of Michigan Press, University of California Press, University of Chicago Press, MIT Press, Yale University Press, Cornell University Press, Ashgate Publishing, Bloomsbury Publishing, Continuum Publishing, University of Minnesota Press, Indiana University Press, Edinburgh University Press, Middlesex University Press, Thomson Wadsworth, Broadview Press, Prentice Hall, McGraw-Hill, Pearson Longman, and West Publishing.

Manuscript evaluator for The Journal of Aesthetics and Art Criticism, The Philosophical Quarterly, British Journal of Aesthetics, American Philosophical Quarterly, Contemporary Aesthetics, Hume Studies, Journal of Music and Meaning, The Journal of Aesthetic Education, Philosophy Compass, Kantian Review, Philosophy of the Social Sciences, Hypatia, Volume!, Dialogue, and American Music.

Publications: Books  

Jazz and the Philosophy of Art. (Co-authors: Lee B. Brown & David Goldblatt). Under contract with Routledge; expected publication 2018.

On Music. (Routledge Thinking in Action Series) 2013. 156 pages.

The Philosophy of Art: An Introduction. Polity. 2011. 209 pages.

The Routledge Companion to Philosophy and Music, co-edited with Andrew Kania. Routledge. 2011. 654 pages.

Aesthetics Today: A Reader, co-edited with Robert Stecker. Rowman & Littlefield. 2010. 407 pages.

Listening to Popular Music. The University of Michigan Press, 2007. 245 pages.

I Wanna Be Me: Rock Music and the Politics of Identity
Philadelphia: Temple University Press, 2001. 304 pages.
For an overview of the book, click here 

Rhythm and Noise: An Aesthetics of Rock
Durham, NC: Duke University Press, 1996. 312 pages. 

Korean Translation of Rhythm and Noise. Seoul, South Korea: Theory & Praxis Publishing Co., 2002. 

Local Publishing:

Editor, Classic Readings in Theory of Knowledge. Minnesota State University Moorhead, 2009. An anthology of public domain texts (Plato through Russell).

Editor, History of Ethics: A Reader. Minnesota State University Moorhead, 2008. An anthology of public domain texts (Aristotle through Mill).

Editor, Philosophy and the Arts: Selected Readings. Minnesota State University Moorhead, 2006. An anthology of public domain texts. Some chapters are available online as RTF & PDF files, here.

Editor, Philosophy 101: Introduction to Western Philosophy -- A Text With Readings. Minnesota State University Moorhead, 2005. 4th edition, 2011. An anthology of public domain texts with introductions and reading guides.

Co-editor, The Beautiful and The Good. Acton, MA: Copley Publishing, 1994. An anthology of original readings and secondary sources for the Moorhead State University course, Liberal Studies 201: The Beautiful and the Good.

Editor, Art & Technology, Courseworks, 1992. An anthology of licensed excerpts.

Publications: Articles, Chapters, and Essays 

"Imaginative Listening to Music," under contract for The Oxford Handbook of Sound and Imagination, eds. Mark Grimshaw, Mads Walther-Hansen, & Martin Knakkergaard. 

"Rhythms, Resemblance, and Musical Expressiveness," in The Nature of Rhythm: Aesthetics, Music, Poetics, eds. Andy Hamilton & Max Paddison (Oxford University Press, forthcoming 2017).

"Heavy Metal: Genre? Style? Subculture?" Philosophy Compass 11 (2016): 775-785: doi:10.1111/phc3.12386.  Video Abstract: https://youtu.be/7K5xSCLVqU0

"Hume's Aesthetics," The Stanford Encyclopedia of Philosophy (Substantive revision, 2016), Edward N. Zalta (ed.), http://plato.stanford.edu/entries/hume-aesthetics/ 

"Aesthetics Objects, Reconsidered," in Farewell to Visual Studies, ed. James Elkins, Gustav Frank, and Sunil Manghani (Penn State University Press, 2015), pp.181-183.

"Listening With their Eyes: Problems for Radical Intertextuality," Volume! 10:1 (2013), http://volume.revues.org/3575
French translation, "<<Ils écoutent avec leurs yeux>> : sur quelques problèmes de l'intertextualité radicale," Volume! 10:1 (2013), pp. 22-44.

"Music, Indiscernible Counterparts, and Danto on Transfiguration," Evental Aesthetics, 2: 3 (2013): 58-86. http://eventalaesthetics.net/wp-content/uploads/downloads/2013/12/EA232013_Gracyk_Indiscernibles.pdf
 
"Adorno," in The Routledge Companion to Aesthetics, ed. Berys Gaut and Dominic Lopes, 3rd edition (Routledge, 2013), pp. 137-147.

"Covers and Communicative Intentions," Journal of Music and Meaning 11 (2013), pp. 22-46. http://www.musicandmeaning.net/articles/JMM11/GracykJMM11.pdf

"Meanings of Songs and Meanings of Song Performances," The Journal of Aesthetics and Art Criticism, 71 (2013), pp. 23-33.

"The Sublime and the Fine Arts," in The Sublime: From Antiquity to the Present, ed. Timothy Costelloe (Cambridge University Press, 2012), pp. 217-229.

"Kids're Forming Bands: Making Meaning in Post-Punk," Punk & Post-Punk 1.1 (2012): 73-85.

"Reply to Townshend," The Journal of Scottish Philosophy Forum 9.1 (June 2011). http://www.scottishphilosophy.org/journalofscottishphilosophyforum.html

"Misappropriation of Our Musical Past,"
The Journal of Aesthetic Education
45:3 (2011): 50-66.


"Philosophy of Music," Oxford Bibliographies Online, 5-Jul-2011. http://oxfordbibliographiesonline.com/view/document/obo-9780199757824/obo-9780199757824-0061.xml

"Delicacy in Hume’s Theory of Taste," The Journal of Scottish Philosophy 9.1 (2011): 1–16.

"Evaluating Music," in The Routledge Companion to Philosophy and Music, eds. Theodore Gracyk and Andrew Kania (Routledge 2011), pp. 165-75.

"Performances and Recordings," co-written with Andrew Kania, in The Routledge Companion to Philosophy and Music, ed. Theodore Gracyk and Andrew Kania (Routledge 2011), pp. 80-90.

"Fakin' It: Is There Authenticity in Commercial Music?" in in David Goldblatt and Lee B. Brown (eds.), Aesthetics: A Reader in Philosophy of the Arts, 3rd edition (Upper Saddle River, NJ: Prentice Hall/Pearson, 2011), pp. 349-354.

"The Song Remains the Same, But Not Always," in Led Zeppelin and Philosophy, ed. Scott Calef (Open Court, 2009), pp. 31-45.

"Ontological Contextualism," in A Companion to Aesthetics, 2nd ed., eds. David Cooper, Stephen Davies, Kathleen Higgins, Robert Hopkins and Robert Stecker (Oxford: Blackwell, 2009), pp. 449-53.

"Authenticity," in A Companion to Aesthetics, 2nd ed., eds. David Cooper, Stephen Davies, Kathleen Higgins, Robert Hopkins and Robert Stecker (Oxford: Blackwell, 2009), pp. 156-59.

"David Hume," in A Companion to Aesthetics, 2nd ed., eds. David Cooper, Stephen Davies, Kathleen Higgins, Robert Hopkins and Robert Stecker (Oxford: Blackwell, 2009), pp. 331-34.  

"Documentation and Transformation in Musical Recordings," in Recorded Music: Philosophical and Critical Reflections, ed. Mine Dogantan-Dack (Middlesex University Press, 2008), pp. 61-81. This book is a finalist for the 2008 Association for Recorded Sound Collections Awards for Excellence in Historical Recorded Sound Research.

"Reflective Equilibrium in the Aesthetics Classroom," American Society for Aesthetics Newsletter, Fall, 2008. Online version is HERE.

"The Aesthetics of Popular Music," The Internet Encyclopedia of Philosophy, June, 2008,  http://www.iep.utm.edu/m/music-po.htm.

"Pulling Together as a Team: Collective Action and Pink Floyd’s Intentions," in Pink Floyd and Philosophy, George Reisch, ed. (Open Court, 2007), pp. 141-61.

"Searching for the 'Popular' and the "Art' in Popular Art," invited survey article for Blackwell’s Philosophy Compass (Vol. 2, April 2007) http://www.blackwell-compass.com/subject/philosophy/.

"Allusions and Intentions in Popular Art," in Philosophy and the Interpretation of Pop Culture, William Irwin and Jorge J. E. Gracia, eds. (Lanham, MD: Rowman & Littlefield: 2007), pp. 65-87.

Edited version reprinted in Stecker and Gracyk, Aesthetics Today: A Reader (2010), pp. 213-20.

"To Find A Song That I Can Sing: What Philosophy of Language Can Tell Us About Popular Success," in U2 and Philosophy, Mark Wrathall, ed. (Open Court, 2006), pp. 163-76. Portuguese translation in U2 e a Filosofia (Madras Editora, 2008). German translation in Die Philosophie bei U2 (Wiley-VCH Verlag, 2009).

"When I Paint My Masterpiece: What Sort of Artist is Bob Dylan?" in Bob Dylan and Philosophy, Carl Porter and Peter Vernezze, eds. (Open Court, 2006), pp. 169-81.

"Music and the Matrix: Where Are We Hearing When We Hear the Future?", in More Matrix and Philosophy, Bill Irwin, ed. (Open Court, 2005), pp. 109-21.

"A Different Plea for Disinterest," in David Goldblatt and Lee B. Brown (eds.), Aesthetics: A Reader in Philosophy of the Arts, 2nd edition (Upper Saddle River, NJ: Prentice Hall, 2005), pp. 502-8.

Reprinted, 3rd edition, 2011, pp. 444-450.

"Does Everyone Have a Musical Identity? Reflections on Musical Identities," Action, Criticism & Theory for Music Education, 3:1 (May 2004), http://act.maydaygroup.org/ & http://www.siue.edu/MUSIC/ACTPAPERS/v3/Gracyk04.pdf 

Elements incorporated into Listening to Popular Music

"Popular Music: The Very Idea of Listening to It," in Bridging the Gap: Popular Music and Music Education, Carlos Rodriguez, ed. (Reston, VA: MENC - The National Association for Music Education, 2004), pp 51-70.

Revised and reprinted in Listening to Popular Music.

"Hume's Aesthetics", The Stanford Encyclopedia of Philosophy (Winter 2003 Edition; revised 2006, 2008, 2011), Edward N. Zalta (ed.), http://plato.stanford.edu/entries/hume-aesthetics/ 

"Sound and Vision: Color in Visual Art and Popular Music," in Pop Sounds: Klangtexturen in der Pop- und Rockmusik (The Role of Sound in Popular and Rock Music), Thomas Phleps and Ralf von Appen, eds. (Bielefeld, Germany: Transcript-Verlag, 2003), pp. 49-64.

"Jazz after Jazz: Ken Burns and the Construction of Jazz History," Philosophy and Literature, 26.1 (2002), pp. 173-187.

"Music's Worldly Uses," in Alex Neil and Aaron Ridley (eds.), Arguing About Art: Contemporary Philosophical Debates 2nd ed. (London and New York: Routledge, 2002) pp. 135-48. Also included in the 3rd edition, 2007.

Revised and reprinted in Listening to Popular Music.

" 'Candle in the Wind 1997' as an Antidote to the Social Erasure of the Public," Genre, 34:3-4 (Fall/Winter 2001), pp. 219-41. 

"Who Is the Artist if Works of Art Are Action Types?", The Journal of Aesthetic Education, 35:2 (Summer 2001), pp. 11-24. 

"Play It Again, Sam: Response to Niblock," The Journal of Aesthetics and Art Criticism, 57:3 (Summer 1999), pp. 368-70. 

"Valuing and Evaluating Popular Music," invited contribution to a Special Issue of The Journal of Aesthetics and Art Criticism, 57:2 (Spring 1999), pp. 205-20.

Reprinted in Chris Rojek, ed., Popular Music, Vol. 1 (Sage Publications, 2011).

Revised and reprinted in Listening to Popular Music.

"What Goes On: The Double-Bind of Theorizing Rock," Literature and Psychology, 44:3 (1998), pp. 1-22. 

"Kant on Art and Nature," in Michael Kelly (ed.), The Encyclopedia of Aesthetics, Volume 3 (Oxford University Press, 1998), pp. 41-44. 

"Listening to Music: Performances and Recordings," The Journal of Aesthetics and Art Criticism, 55:2 (Spring 1997), pp. 139-50. 

Reprinted in Philip Auslander (ed.), Performance: Critical Concepts in Literary and Cultural Studies, Volume IV (New York : Routledge, 2003), pp. 332-50.

"Why Is Rock Music So Noisy?", in David Goldblatt and Lee B. Brown (eds.), Aesthetics: A Reader in Philosophy of the Arts (Upper Saddle River, NJ: Prentice Hall, 1996), pp. 440-43. Also included in the 2nd edition (2005), pp. 400-2.

"Art, Nature and Purposiveness in Kant's Aesthetic Theory," in Hoke Robinson (ed.), Proceedings of the Eighth International Kant Congress, Volume II, Part 2 (Milwaukee: Marquette University Press, 1995), pp. 499-507.

"Rethinking Hume's Standard of Taste," The Journal of Aesthetics and Art Criticism, 52:2 (Spring 1994), pp. 169-82. 

"Romanticizing Rock Music," The Journal of Aesthetic Education, 27:2 (Summer 1993), pp. 43-58. 

Reprinted in Rhythm and Noise; reprinted in Mary Lynch Kennedy, William J. Kennedy, and Hadley M. Smith (eds.), Writing in the Disciplines: A Reader for Writers 4th ed. (Prentice Hall, 2000), 5th ed. (2003), 6th edition (2008), and reprinted in Joanna Gibson (ed.), Perspectives: Case Studies for Readers and Writers (Longman Publishers, 2002), pp. 203-18. 

"Siegel on Competency Testing and Critical Thinking," Informal Logic, XIV: 2&3 (Spring/Fall 1992), pp. 165-78. 

"Adorno, Jazz, and the Aesthetics of Popular Music," The Musical Quarterly, 76:4 (Winter 1992), pp. 526-42. 

Revised and reprinted in Rhythm and Noise.
Reprinted in Gerard Delanty (ed.), Theodor W. Adorno, Volume Two (Thousand Oaks: Sage Publications, 2004).

"Critical Thinking Portfolio," APA Newsletter on Teaching Philosophy, 90:3 (Fall 1991), pp. 64-67. 

Revised and reprinted in Tziporah Kasachkoff (ed.), In The Socratic Tradition: Essays on Teaching Philosophy (Lanham, MD, and Oxford: Rowman & Littlefield, 1997). 

"Kant's Doctrine of Heuristics: An Interpretation of the Ideas Of Reason," The Modern Schoolman, LXVIII, No. 3 (March 1991), pp. 191-210. 

"Are Kant's 'Aesthetic Judgment' and 'Judgment of Taste' Synonymous?", International Philosophical Quarterly, 30:2 (June 1990), pp. 159-172. 

"Having Bad Taste," The British Journal of Aesthetics, 30:2 (April 1990), pp. 117-131. 

"The Failure of Thomas Reid's Aesthetic Theory," The Monist, 70:4 (October 1987), pp. 465-482. 

"Pornography as Representation: Aesthetic Considerations," The Journal of Aesthetic Education, 21:4, (Winter 1987), pp. 103-121. 

Reprinted in Robert M. Baird & Stuart E. Rosenbaum (ed.s), Pornography: Private Right or Public Menace? (Buffalo, NY: Prometheus Books, 1991 & revised ed., 1998).

"Sublimity, Ugliness, and Formlessness in Kant's Aesthetic Theory," The Journal of Aesthetics and Art Criticism, 45:1 (Fall 1986), pp. 49-56. 

"Kant's Shifting Debt to British Aesthetics," The British Journal of Aesthetics, 26:3 (Summer 1986), pp. 204-217.

 

Book Reviews 

Review of Charles Batteux, The Fine Arts Reduced to a Single Principle, James O. Young (tr.), (Oxford University Press, 2015), in Notre Dame Philosophical Reviews, online:4 April 2016.
http://ndpr.nd.edu/news/66243-the-fine-arts-reduced-to-a-single-principle/

Review of Jerrold Levinson, Musical Concerns: Essays in Philosophy of Music (Oxford University Press, 2015), in Notre Dame Philosophical Reviews, online: 29 Sept 2015.  https://ndpr.nd.edu/news/61080-musical-concerns-essays-in-philosophy-of-music/

Review of Stephen Davies, The Artful Species: Aesthetics, Art, and Evolution (Oxford University Press 2012), in Philosophy in Review 34 (2014): 126-128.

Review of James O. Young, Critique of Pure Music (Oxford University Press, 2014), in Australasian Journal of Philosophy, online: 22 Aug 2014.

Review of Timothy M. Costelloe, The British Aesthetic Tradition: From Shaftesbury to Wittgenstein (Cambridge University Press, 2013) in Journal of the History of Philosophy 52:4 (2014): 848-849.

Review of Vittorio Hösle (ed.), The Many Faces of Beauty (University of Notre Dame Press, 2013), in Essays in Philosophy 15:1 (2014): 174-178. http://dx.doi.org/10.7710/1526-0569.1496.

Review of Nicholas Cook, Eric Clarke, Daniel Leech-Wilkinson and John Rink (eds), The Cambridge Companion to Recorded Music (Cambridge University Press, 2009), in The Journal of Popular Music Studies 25:1 (March 2013), 114-16.

Review of Lydia Goehr, Elective Affinities: Musical Essays on the History of Aesthetic Theory (New York: Columbia University Press, 2008), in The Journal of Aesthetics and Art Criticism, 68:2 (Spring 2010), 175-76.

Review of Peter Kivy, Antithetical Arts: On the Ancient Quarrel between Literature and Music (Oxford: Clarendon Press, 2009),  in The Journal of Aesthetics and Art Criticism, 67:4 (Fall 2009), 435-38.

Review of Yuriko Saito, Everyday Aesthetics (Oxford University Press, 2007) and Katya Mandoki, Everyday Aesthetics: Prosaics, the Play of Culture and Social Identities (Ashgate, 2007), in The Journal of Aesthetics and Art Criticism, 66:4 (Fall 2008), 422-24.

Review of Angela Ndalianis, Neo-Baroque Aesthetics and Contemporary Entertainment (The MIT Press, 2004) in The Journal of Aesthetic Education 41:2 (Summer 2007), 115-19. 

Review of Robert Stecker, Interpretation and Construction: Art, Speech and the Law (Blackwell Publishing, 2003), in The Philosophical Review, 115:4 (October 2006), 524-26.

Review of Andrew Light and Jonathan M. Smith, The Aesthetics of Everyday Life (Columbia University Press, 2005) in Philosophy in Review, 26:3 (June 2006), 205-8.

Review of Jonathan Sterne, The Audible Past: Cultural Origins of Sound Reproduction (Duke University Press, 2003); in The Journal of Aesthetics and Art Criticism, 63:3 (Summer 2005), pp. 302-4.

Review of Howard Singerman, Art Subjects: Making Artists in the American University (University of California Press, 1999) in The Journal of Aesthetic Education, 39:1 (Spring 2005), pp. 119-22.  

Review of Albin J. Zak III, The Poetics of Rock: Cutting Tracks, Making Records (University of California Press, 2001),  in The Journal of Aesthetics and Art Criticism, 62:1 (Winter 2004), pp. 73-74.

Review of Naomi Cumming, The Sonic Self: Musical Subjectivity and Signification (Indiana University Press, 2000), in The Journal of Aesthetics and Art Criticism,  61:3 (Summer 2003), pp. 311-12. 

Review of Stephen Davies, Musical Works & Performances (Oxford: Clarendon Press, 2001), in The Journal of Aesthetics and Art Criticism, 61:2 (Spring 2003), pp. 204-6. 

Review of Roger Beebe, Denise Fulbrook, and Ben Saunders, Rock Over the Edge: Transformations in Popular Music Culture (Durham and London: Duke University Press, 2002), in American Studies, 43:3 (Fall 2002), pp. 145-46. 

Review of George Dickie, Introduction to Aesthetics: An Analytic Approach (Oxford University Press, 1997); Gordon Graham, Philosophy of the Arts: An Introduction to Aesthetics (New York: Routledge, 1997); and Colin Lyas, Aesthetics (Montreal: McGill-Queen's University Press, 1997): in The Journal of Aesthetics and Art Criticism, 57:1 (Winter 1999), pp. 82-86. 

Review of Susan Feagin, Reading with Feeling: The Aesthetics of Appreciation (Ithaca, NY: Cornell University Press, 1996), in Philosophy in Review, 17:6 (1997), pp. 406-8. 

Review of Peter Fenves (ed.), Raising the Tone of Philosophy: Late Essays by Immanuel Kant, Transformative Critique by Jacques Derrida (Baltimore: Johns Hopkins University Press, 1993), in The Journal of Aesthetics and Art Criticism, 53:4 (Fall 1995), p. 446. 

Review of Allan F. Moore, Rock: The Primary Text, (Buckingham and Philadelphia: Open University Press, 1993), in The Journal of Aesthetic Education, 28:4 (Winter 1994), pp. 105-7.

Review of J. M. Bernstein, The Fate of Art (University Park, PA: Pennsylvania State University Press, 1992), in The Journal of Aesthetics and Art Criticism, 51:4 (Fall 1993), pp. 646-48. 

Review of Matthew Lipman, Thinking in Education, (Cambridge University Press, 1991), in International Studies in Philosophy, XXV.3 (1993), pp. 138-39. 

Review of Ralph Meerbote (ed.), Kant’s Aesthetics (Volume 1, North American Kant Society Studies in Philosophy) (Atascadero, CA: Ridgeview Publishing, 1991), in Canadian Philosophical Reviews, XII, no. 6 (December 1992), pp. 413-15.

Review of Jon Huer, Art, Beauty, and Pornography, (Buffalo, N.Y.: Prometheus Books, 1987), in The Journal of Aesthetic Education, 22:2 (Summer 1988), pp. 121-23. 

Review of Joseph Claude Evans, Jr., The Metaphysics of Transcendental Subjectivity, (Amsterdam: B. R. Gruner), in Philosophical Books, 27:2 (April 1986), pp. 82-84.  

 

Selected Presentations  

Scheduled: “The Futility of Evaluative Neutrality,” for Aesthetic Normativity conference, Salt Lake City, May 2017.

Scheduled: "Defining Jazz Historically" (with David Goldblatt),  American Society for Aesthetics Pacific Division Meeting, April, 2017.

Performances, Asynchronous Access, and Virtual Performances," American Society for Aesthetics Eastern Division Meeting, April 16, 2016.

Keynote Speaker: "Genre? Style? Subculture? Are We All Talking About The Same Thing?" Mind over Metal: Metal Music and Culture from a Cross-Disciplinary Perspective, The University of Southern Denmark, December 3-4, 2015.

"What is Popular Music?" American Society for Aesthetics 73rd Annual Meeting, November 2015.

"A Taste for Metal," Topics in the Aesthetics of Music and Sound Seminar Series, The University of Southern Denmark, February 5, 2015 (via Skype).

"Transparency is to Phonography as Improvisation is to Repetition?" American Society for Aesthetics 72nd Annual Meeting, October 2014.

"Was Matisse a Performer?" Performance Studies International 19, NOW THEN: Performance and Temporality, Stanford University, June 2013.

Panel participant, “Live Versus Studio” and “Pop Versus Classical,” Performance in the Studio online conference, Association for the Study of the Art of Record Production, opening date April 29 2013.

Author meets Critics Panel Presentation on Stephen Davies's The Artful Species, American Society for Aesthetics Pacific Division Meeting, April 2013.

"Rhythms, Resemblance, and Musical Expressiveness," American Society for Aesthetics 69th Annual Meeting, October 2011.

Author meets Critics Panel presentation on Joel Rudinow's Soul Music, American Society for Aesthetics 68th Annual Meeting, October 2010.

"Hanslick's Theory of Imaginative Listening," American Society for Aesthetics Pacific Division Meeting, Asilomar, CA, April 2010.

"Meanings of Works, Meanings of Performances," American Society for Aesthetics 67th Annual Meeting, October 24, 2009.

"Hanslick's Theory of Imaginative Listening," Conference on Eduard Hanslick: Aesthetic, Critical, and Cultural Contexts, University College Dublin, June 24, 2009.

"Musical Tourism in Our Own Past," Music and Morality Conference, University of London, June 16-17, 2009.

"Making Meaning in Post-Punk," Keynote Address at New Wave, New Views Conference, University of Leeds, June 26, 2009.

"Meanings of Works, Meanings of Performances," Philosophy Department Colloquium Series, University of California, Davis, May 8, 2009.

"Three Theories of Musical Imagination," Northwestern University, May 1, 2009.

"Appropriations of Led Zeppelin," University of Minnesota, Morris, April 14, 2009.

"Musical Tourism in Our Own Past," Panel on Music and Morality, American Society for Aesthetics 66th Annual Meeting, November 8, 2008.

"Agreeably Astray: Imagination and Music," Aesthetics Anarchy Conference, Indiana University, Bloomington, Indiana. May 16-18, 2008.

"Rodin's Sculpture: An Exploration of Ontology and Authenticity," Rodin Symposium, Plains Art Museum, Fargo, North Dakota, April 20, 2008.

"Agreeably Astray: Imagination and Music," Keynote Address at the 2008 Meeting of the Danish Philosophical Association, University of Southern Denmark at Odense, March 8, 2008. 

"Fakin' It: Is There Authenticity in Commercial Music?" Music Across Boundaries: The Scholarship and Community Conference, University of Houston, September 26, 2007.

"Danto, Music, and Indiscernible Counterparts," Online Conference in Aesthetics: Arthur Danto’s Transfiguration of the Commonplace—25 Years Later. January 22 - February 5, 2007.

"What's in a Phrase? Carroll and Iseminger on 'Aesthetic Experience'," American Society for Aesthetics 64th Annual Meeting, Milwaukee, October 2006.

"Artist's Intentions and the Humpty Dumpty Problem," Philosophy For All, Fargo, N.D., March 16, 2006.

"Authenticities in Commercial Music," American Society for Aesthetics, 62nd Annual Meeting, Houston, October 28, 2004.

“Allusion and Intentions in Popular Art," The 5th Samuel P. Capen Symposium in Philosophy, University of Buffalo, on Philosophy and the Interpretation of Popular Culture, April 2, 2004.

"Wayne and Garth and the Politics of Identity," Philosophy Colloquium Series, Texas Tech University, November 11, 2002. 

Gallery Talk, "Abstraction in the Paintings of Cha Guojun," MSUM Art Gallery, September 5, 2002. 

Invited Presenter on popular music, Northwestern University Music Education Leadership Seminar IV, School of Music, Northwestern University, Evanston, Illinois, June 19, 2002. 

"Author Meets Author: Stephen Davies and Theodore Gracyk," American Society for Aesthetics, Pacific Division Meeting, Asilomar, CA, March 2002.

"All Shook Up: The Cultural Location of Musical Appropriation," International Association for the Study of Popular Music, U.S., e-conference,  January 19-27, 2002. <http://www.musicology.ucla.edu/iaspm2001/>

"The Twilight of Jazz: Ken Burns and the Construction of Jazz History," American Society for Aesthetics 59th Annual Meeting, Minneapolis, October 2001. 

"Wow Them and They Will Come: the Consumer Public and the Art Museum," Faith, Reason and World Affairs Symposium (September 24, 2001), Concordia College, Moorhead, MN. 

"A Different Plea for Disinterestedness," American Society for Aesthetics, Pacific Division Meeting, Asilomar, CA, April 2001. 

"Speaking in Tongues: Issues of Appropriation in Rock Music," Valparaiso University, April 7, 2000.

"Animals Learn Many Parts of their Knowledge from Observation: Hume on Empirical Knowledge," 26th Hume Society Conference, Cork, Ireland, July 1999. 

"Autonomy, High Culture and Higher Education," The Roland and Beth Dille Distinguished Faculty Lecture, Moorhead State University, January 1999. 

"Phonography: Transformation or Documentation?", American Society for Aesthetics 56th Annual Meeting, Bloomington, IN, November 1998. 

"Historical Authors and Speakers' Intentions in Mass Art," American Society for Aesthetics, Pacific Division Meeting, Asilomar, CA, April 1998. 

"Musical Appropriation and Cultural Autonomy," American Society for Aesthetics 55th Annual Meeting, Santa Fe, NM, October 1997. 

"Who Is the Artist If Works of Art Are Action Types?", American Society for Aesthetics 53rd Annual Meeting, St. Louis, MO, October 1995.

"Kant on Art and Nature," Eighth International Kant Congress, Memphis, TN, March 1995. 

"Rock Music and Record Consciousness," American Society for Aesthetics 52nd Annual Meeting, Charleston, SC, October 1994. 

"Why is Rock Music So Noisy?", American Society for Aesthetics, Pacific Division Meeting, Asilomar, CA, March 1994. 

"Representing, Recording, and Rock Music," American Society for Aesthetics, Pacific Division Meeting, Asilomar, CA, March 1993. 

"The Ontology of Rock Music," American Society for Aesthetics 50th Annual Meeting, Philadelphia, PA, October 1992. 

"Rethinking Hume on Taste," American Society for Aesthetics 49th Annual Meeting, Portland, Oregon, October 1991, and Minnesota Philosophical Society Annual Meeting, October 1991. 

"The Proof is in the Pudding: Critical Thinking Portfolios," Minnesota State University System Conference on Teaching, October 1991.

"Adorno on Jazz," American Society for Aesthetics 48th Annual Meeting, Austin, Texas, October 1990. 

"Do Artworks Have Rights?", XIth International Aesthetics Congress, Nottingham, England, August, 1988. 

"Are Kant's 'Aesthetic Judgment' and 'Judgment of Taste' Synonymous?", APA Central Division Meetings, Chicago, April, 1987. 

"Pornography as Representation: Definitional Difficulties," APA Pacific Division Meetings, Los Angeles, March 1986.   

Courses Taught: 

101: Intro to Western Philosophy 
105: Philosophical Thinking (Writing Intensive Intro) 
110: Practical Reasoning
215: Contemporary Moral Issues
210/308: Aesthetics of music (Honors Program)
220: Philosophy of Education
250/340: Symbolic Logic
265: Philosophy of Science
290: Popular Culture
300: History of Ethics
305: Modern Philosophy: 17th Century
306: Modern Philosophy: 18th Century
311: Morals and Medicine 
320: Philosophy of the Arts
318: Professional Ethics   
365(g): Philosophy of Science
370(g): Skepticism and Knowledge
407: Theory of Knowledge
430: 20th Century Analytic Philosophy
440: Aesthetics of Music
440(g): Recent Aesthetic Theory
490: Ethics and Literature
490: Philosophy of Language 

Graduate Courses Taught: 

Philosophy of the Arts
Technology and the Arts
High Culture/Low Culture 
The Human Spirit in Art 

 

 

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