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PUBLICATIONS
Zhou, Yili (forthcoming). Why Follow the Score? Aesthetic Normativity in Performing Classical Music and the Genuine Performing Experience. British Journal of Aesthetics. https://philpapers.org/rec/ZHOWFT
Zhou, YiLi & Borchert, Rhys (2023). The Perils of Rejecting the Parity Argument. Philosophy 98 (2):215-241. https://philpapers.org/rec/ZHOTPO-7
Zhou, Y., Lim, D. and Xi, C, “Motivational Externalism and Misdescribing Cases,” American Journal of Bioethics – Neuroscience Vol.7. (2016): 218-219
WORKING IN PROGRESS
A paper on the “why be moral” question (under review)
We philosophers have long pondered the question, “Why be moral?” By asking this question, we seek to uncover the significance of morality not only for those who are indifferent to moral concerns, but perhaps even more importantly, for ordinary individuals like most of us who are drawn to morality but still wonder why it matters. For us, the “Why be moral” question is an exploration of the significance of being moral, rather than a challenge to its authority. This parallels how we sometimes contemplate the meaning of life, without it implying any consideration of suicide.
I believe that the answer to the “Why be moral?” question for ordinary people like us is hidden in the following folk intuition: We perceive individuals with kind hearts as less morally problematic than those with bad hearts, regardless of whether they actually perform good deeds or not. Our intuition emphasizes the crucial role – a psychological-phenomenological feature – plays in the moral context: sincerely responding to one’s uneasy mind when witnessing others in need. When one sincerely responds to their uneasy mind, corresponding to the conception of “Cheng Yi” (诚意, borrowed from Chinese philosophy), they also watch out for themselves not only in terms of their actions in public and private life but also in terms of their intentions in their inner life, corresponding to the conception of “Shen Du” (慎独, borrowed from Chinese philosophy). These two moral phenomena are inseparable, according to Chinese philosophy, and they unite in one’s genuine moral experience. One can respond to their uneasy mind either sincerely or insincerely, as this response process is easily interrupted by factors such as character flaws or situational influences. Depending on how sincerely one responds to one’s uneasy mind, one will have varying degree of genuine moral experience.
A paper on aesthetic value and individuality (co-authored with Rhys Borchert)
The individualized nature of aesthetic appreciation is particularly salient when an artwork resonates with us. It’s a matter of the fact that aesthetic qualities impart themselves upon our soul; we appreciate the work of art not just because of the way it is, but because of the way we are. This kind of aesthetic experience, the resonance, indicates an intimate relationship between an artwork and an aesthetic agent, among other things, and justifies a (defeasible) judgment of aesthetic value. We think that focusing on this specific kind of aesthetic experience may help to provide a better way to understand the relationship between aesthetic value and individuality. Additionally, it may help to shed light on the nature of aesthetic knowledge more generally.
In this paper, we will introduce the phenomenon of resonance, point out the situations of misrecognition of resonance, and discuss how it contributes to our understanding of aesthetic value.
A paper on bodily movements in performing instrumental music
“If Liszt played behind a screen, a great deal of poetry would be lost,” remarked Schumann – a quote invoked by scholars who recognize the significant role of visual stimuli in perceiving music, a claim supported by numerous empirical studies in music psychology. However, the normative question of whether instrumental music performance should incorporate visual aspects, as theatrical performances do, has received little attention. This paper addresses this gap by proposing two objections to theatricalization from the perspective of the music performer: first, bodily movements and facial expressions convey the performer’s intentions, not the music itself; second, integrating such elements risks conflating musical and non-musical components of the music activity. My aim is not to provide decisive reasons in defense of Practical Orthodoxy – proritazing the sound produced by instruments – but rather to offer considerations for its opponents.
A paper on how moral self-cultivation impacts one’s aesthetic life
In both Western and Chinese cultural traditions, philosophers perennially discuss how music is not separable from our moral lives. For instance, both Plato and Confucius argue that music influences our inner lives: great music can establish listeners’ psychic harmony and restore their virtuous states. However, rarely do Western philosophers ask whether having a virtuous mental state promotes one’s sensibility to music. In this paper, I explore how one’s musicianship might benefit from moral self-cultivation. I propose one possibility through a comparison between moral extension and emotional substitution in music performances.
Yili Zhou 周奕李 