(Papers should be e-mailed to rlee@uark.edu by the deadline.)

1.	Due Tuesday, January 22, 2008, 5:00 p.m.
	On pp.185-189 Davies formulates various versions of the arousal theory with formulae which begin "M is E = ..." Explain each of these formulations, giving in each case an example (e.g. by replacing the variables "M" and "E" etc.) and talking through it.
2.	Due Sunday, January 27, 2008, 5:00 p.m.
	In a section titled "Conditions for Language-type Meaning" of chapter 1 Davies lays out seven conditions that would have to be met for something to be a language. Briefly explain what each of these is
3.	Due Sunday, February 3, 2008, 5:00 p.m.
	In a section titled "Necessary Conditions for Pictorial Depiction" of chapter 2 Davies lays out four conditions that would have to be met for something to be a pictorial representation. State and explain each of these conditions, being sure to explain the important terms in the statement of the conditions.
4.	Due Sunday, February 10, 2008, 5:00 p.m.
	Jerrold Levinson distinguishes, according to Davies (pp.114ff), three kinds of "hybrid artforms." Explain what each of these is. Give musical examples of each. Does Levinson's distinction carve up the territory well? Explain.
5.	Due Sunday, February 17, 2008, 5:00 p.m.
	Early on in chapter II of On the Musically Beautiful Eduard Hanslick talks of what he calls "specific feelings." What does he mean by "specific feelings?" Give examples. How, on his view, do "specific" feelings differ from other (non-specific?) feelings, if there are such? Critically discuss.
6.	Due Sunday, February 24, 2008, 5:00 p.m.
	Early on in chapter V of On the Musically Beautiful Eduard Hanslick addresses what he calls the "moral effects" of music (his quotation marks). Explain what he is talking about. (What are "moral effects" of something? What are the supposed "moral effects" of music?) What is Hanslick's "take" on this issue? Explain.
7.	Due Sunday, March 2, 2008, 5:00 p.m.
	In chapter 3 of Introduction to a Philosophy of Music Kivy explains his "contour theory." Explain this theory. Kivy acknowledges apparent problems with the theory. Explain one of these problems (and why it is a problem for the theory). Is Kivy's solution to the problem adequate? Why or why not? (That will require, of course, explaining what his solution is.)
8.	Due Sunday, March 9, 2008, 5:00 p.m.
	In a section entitled "Movement in Music" Davies talks of motion in music. What is he talking about? He later (p.238) says "an appreciation of musical movement involves the recognition of meaning B or C rather than of meaning A ..." Explain that. (Is it true?) What connection, if any, does Davies find between motion in music and emotion in music? Explain.
9.	Due Sunday, March 23, 2008, 5:00 p.m.
	In chapter 5 of Introduction to a Philosophy of Music Kivy talks of playing the "hypothesis game" with music. Explain what he means. Take a piece of music (or several) and explain how one might play the hypothesis game with it. That is, don't just speak abstractly but talk through various moves in the hypothesis game played with that piece (or those pieces). (Letting me know where I might find that music so I can hear what you are talking about would be helpful.)
10.	Due Sunday, March 30, 2008, 5:00 p.m.
	In chapter 7 of Introduction to a Philosophy of Music Kivy explains, among other things, what he calls the "persona" theory. Explain what this theory is and what question is it supposed to answer. Kivy advances several objections to this theory. Briefly explain each of these objections.
11.	Due Sunday, April 6, 2008, 5:00 p.m.
	Starting on page 301 of Musical Meaning and Expression Davies offers an account of objectless emotional responses to music's expressiveness. Explain what this account is and how it differs from other accounts he has considered.
12.	Due Sunday, April 13, 2008, 5:00 p.m.
	In chapter 10 of Introduction to a Philosophy of Music Peter Kivy talks of "structural representation" in music. What does he mean by this? Give examples of structural representation other than the examples he gives. According to Kivy is there any structural representation in absolute music? Why or why not?
13.	Due Sunday, April 20, 2008, 5:00 p.m.
	Peter Kivy supports a kind of "Platonism" in regard to the ontology of musical works. Explain what this view is. Is this view reasonable? (Do you think it is right, or nearly right, or crazy, or what?) Explain.
14.	Due Sunday, April 27, 2008, 5:00 p.m.
	What is music? What relation, if any, does music have to emotion? What, if anything, is music (pure music) about? In each case explain at some length.