– This section is under construction –


Papers and speeches






  • ROJAS, P.F.: «Lo femenino, la música y el gesto». Gansos salvajes, n. 2. Granada, 2014. ISSN: 2386-7086.
  • «Sinestesia música y movimiento y dirección de orquesta. El problema de la gestualidad en la música». Ponencia pronunciada en el congreso Para qué arte II junto a Simón Pérez Mingorance. Departamento de Filosofía I. Universidad de Granada.


  • ROJAS, P. F.: «Orquesta como modelo de comunidad». Ponencia pronunciada en el congreso Encuentro con Roberto Esposito, Centro Mediterráneo de la Universidad de Granada y Fundación Euroárabe (Granada).
  • ROJAS, P. F.: «La ejecución musical y la hipótesis del Sintetizador Tímbrico Perfecto». Ponencia pronunciada en el congreso Para qué arte I. Departamento de Filosofía I. Universidad de Granada.


  • V. A. : Poemas de un mismo lugar. Junta de Andalucía. Dep. legal: GR1959-2010.






Philosophy of Music


[The] sound, while not [taken] as a sign of representations

is the general element of the sound principle of art.

Georg Wilhelm Friedrich Hegel

Philosophy of music represents the philosophical study and treatment of the issues related to music, particularly its elements and people’s experience. Many questions of the philosophy of music don’t appear in the academic area but by the practice and the feedback from the audience.
Some examples of this are issues about copyright of arrangements and orchestrations of scores, and also different meanings of the conductor’s gestural motions, instruments that should be used for different kinds of musical performances, what kind of emotions does the instrumental music transmit – because apparently, its content hasn’t got any meaning a priori, without a text – , how to know a piece of music if we can’t see the original (in contrast to other arts, like plastic arts), etc.
As we are going to see later, the objective of philosophy of music (the study of musical nature and the experience that people have of it) shares a common objective with other academic studies such as musical composition, musicology or psychology of music. However, the study of music with philosophical methods is a single and specific competence of philosophy of music.
This area of knowledge differs to theory of music in two aspects. The first one is based upon the idea that the philosophical activity is a normative field: “explain and study, then judge”. If philosophy of music were descriptive, it would only show a lot of facts about the objective of study, while if it were explicative, its objective would be functional, I mean, by making analysis of and comparations between different musical objects or elements. Meanwhile, a normative discipline advises, determines and instructs about a determinate type of musical thought rationally founded and justified.
The second aspect of the idiosyncrasy of the philosophy of music when compared with the theory of music is the category of its themes and issues – these are especially philosophical. It has been understood regularly, so aesthetics of music and the reflection about music include many differents ambits and conceptual approaches, like:
a) thought on harmony, counterpoint, acoustics, history of music, etc.; b) sociology of music; c) psychology of music; d) anthropology of music; e) or the semantics of music – among other disciplines.
Schoemberg’s or Schenker’s theories of music are examples of thought about musical elements which are not adequate for the philosophical method, meanwhile musical aristotelism is one example of thought about music which is adequate for this method. Although, obviously, there can be few points in common between these kinds of reflections.
Unlike philosophy of science, which is a second level reflection (reflection on another reflection), philosophy of music, like philosophy of language, is a reflection on something which is not a reflection, that is to say an activity or a discipline. A few matters of philosophy of music don’t require an advanced musical knowledge, but for other issues (like the pragmatic meaning of tonal functions, for example) it is necessary that the philosopher of music knows a lot about music and is a competent philosopher.

Academically, Pablo Rojas worked primarily in the field of ontology of music (following thoughts as Julian Dodd, Stephen Davies and Jerrold Levinson), a kind of reflection of the music that requires basic knowledge about the practice of musical performance and the fundamentals of music theory to try to answer the question “what is a work of musical art. It is the ambit of philosophy of music, the musical entities and the relationship between them –it is the most abstract method to understand the realities of musical nature”. However, research on the fundaments of orchestral and choral communication and meaning of the conductorial instructions (gestural motions and proferences of the music director) have focused on Pablo Rojas’s papers in applied ontoepistemosemantics, mainly inspired by Wittgenstein.