295 Journal of Music Theory 60:2, October 2016 DOI 10.1215/00222909-3651953 © 2016 by Yale University Kendall Walton In Other Shoes: Music, Metaphor, Empathy, Existence Oxford University Press, 2014: 295 pp. ($29.95, paperback) Bryan J. Parkhurst This essay on Kendall Walton’s In Other Shoes: Music, Metaphor, Empathy, Exis- tence is the first review of one of Walton’s books to appear in a music journal. This contrasts with the situation of another prominent analytic aesthetician of Walton’s generation, Peter Kivy, whose greater visibility in academic music studies can be gauged in part by the many notices his books have received in music periodicals. The determining factors here are output and focus. Wal- ton has published three books, and of these only In Other Shoes has much to do with music, whereas thirteen of Kivy’s twenty-one monographs are exclu- sively occupied with questions arising within the philosophy of music. I flag this contrast because it belies a fact that I want to use this review to under- score: to a greater extent than any other analytic philosopher, and in spite of the fact that it would be misleading to pigeonhole him as a “philosopher of music,” Walton has confronted a set of philosophical problems that overlap substantially with the defining concerns of contemporary music theory, con- cerns that In Other Shoes does much to articulate and clarify. Like Walton’s earlier collection Marvelous Images (2008), and unlike his systematic treatise Mimesis as Make-Believe (1990), In Other Shoes is a potpourri of loosely connected, previously published essays, most of them revised and expanded for the volume. 1 For our purposes, these can be sorted into three groups: (1) essays whose central argument is partly or wholly about music; (2) essays that do not deal with music but arrive at conclusions that should attract the attention of music scholars; and (3) chapters that are of strictly philosophical interest. The third group, which I’ll hereafter ignore, contains treatments of philosophical puzzles related to the account of fictional representation set out definitively in Mimesis as Make-Believe (“Fictionality and Imagination— Mind the Gap,” “Restricted Quantification, Negative Existentials, and Fic- tion,” “Fearing Fictions,” and “Spelunking, Simulation, and Slime: On Being Moved by Fiction”) as well as extensions of Walton’s theory of fictionality into nonaesthetic philosophical territories (“‘It’s Only a Game’: Sports as Fiction” and “Existence as Metaphor?”). 1 Only the first chapter of the book, “Empathy, Imagina- tion, and Phenomenal Concepts,” is new in the volume. Downloaded from https://read.dukeupress.edu/journal-of-music-theory/article-pdf/60/2/295/437207/JMT602_07Parkhurst_fpp.pdf by UNIV OF TX AUSTIN user on 16 January 2020