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An insightful look at how avant-garde musicians of the postwar period in New York explored the philosophical dimensions of music's ineffability. The Musician as Philosopher explores the philosophical thought of musicians of the postwar New York avant-garde: David Tudor, Ornette Coleman, the Velvet Underground, Alice Coltrane, Patti Smith, and Richard Hell. It contends that these musicians--all of whom are understudied, and none of whom are traditionally taken to be composers--not only challenged the rules by which music is written and practiced but also confounded and reconfigured gendered and racialized expectations for what critics took to be legitimate forms of musical sound. From a broad historical perspective, their arresting music electrified a widely recognized social process of the 1960s: a simultaneous affirmation and crisis of the modern self.

We often say that music is ineffable, that it does not refer to anything outside of itself. But if music, in all its sensuous flux, does not mean anything in particular, might it still have a special

We often say that music is ineffable, that it does not refer to anything outside of itself. But if music, in all its sensuous flux, does not mean anything in particular, might it still have a special