Jerrold Levinson


Jerrold Levinson is Distinguished University Professor of Philosophy at the University of Maryland, College Park. He is particularly noted for his work on the aesthetics of music, as well as for his search for meaning and ontology in film, art and humour.

Education and career

Levinson started his studies in 1965 at the Massachusetts Institute of Technology, where he gained a BS Degree in Philosophy and Chemistry in 1969. He earned his Ph.D. in philosophy at the University of Michigan in 1974, under the supervision of Kendall Walton.
During 1974-1975, he was visiting assistant professor at SUNY Albany. In 1976 he became assistant professor at the University of Maryland, was promoted to associate professor in 1982 and full professor in 1991. In 2004 he was accorded the title of Distinguished University Professor. He has also been visiting professor at other US institutes, including the Johns Hopkins University and Columbia University. He has also held visiting appointments in other countries, such as England, New Zealand, France, Belgium, Portugal and Switzerland. During 2010-2011 he held an International Francqui Chair at the Katholieke Universiteit Leuven, and in 2011 received the Premio Internazionale of the Società Italiana d'Estetica.
In 2003, Levinson co-directed a National Endowment for the Humanities Summer Institute, Art, Mind, and Cognitive Science, and during 2001-2003 was President of the American Society for Aesthetics.

Philosophical work

Levinson's interest in the aesthetics of music has led to an examination of musical ontology from a historical-contextual perspective, and of performance with an emphasis on performing means. He has posited theories of evaluating music and has considered the legitimacy of emotional response in musical appreciation. Within his study of performance he has also examined the distinctness of performing and critical interpretation.
Levinson advocates the position that music has the same relation to thought as does language;
i.e., if language is an expression of thought, so is music. This is particularly revealed in his analysis of Wittgenstein's ideas on the meaning in music:
This raises interesting points in the debate on absolute music.