Desires matter. What are desires? Many believe that desire is a motivational state: desiring is being disposed to act. This conception aligns with the functionalist approach to desire and the standard account of desire's role in explaining action. According to a second influential approach, however, desire is first and foremost an evaluation: desiring is representing something as good. After all, we seem to desire things under the guise of the good. Which understanding of desire is more accurate? Is the guise of the good even right to assume? Should we adopt an alternative picture that emphasizes desire's deontic nature? What do neuroscientific studies suggest? Essays in the first section of the volume are devoted to these questions, and to the puzzle of desire's essence. In the second part of the volume, essays investigate some implications that the various conceptions of desire have on a number of fundamental issues. For example, why are inconsistent desires problematic? What is desire's role in practical deliberation? How do we know what we want? This volume will contribute to the emergence of a fruitful debate on a neglected, albeit crucial, dimension of the mind.

terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in OSO for personal use (for details see http://www.oxfordscholarship.com/page/privacy-policy). Abstract and Keywords How do young people's felt experiences of popular music contribute to their musical development? This chapter constructs answers through a philosophical inquiry that draws support from research in emotion studies, the psychology of personhood, embodied music cognition, and affective neuroscience. A brief introduction to the nature of emotions and popular music is followed by concrete illustrations of selected teenagers' reflections on their personal emotional experiences of particular pieces of popular music. The discussion then integrates findings in specific psychological and philosophical theories of musical emotions with themes in embodied music cognition that are subsequently applied to contrasting examples of popular music. The chapter ends by positing a provisional concept of how the musical structures, lyrics, and contexts of popular music may arouse emotions, University Press Scholarship Online Oxford Scholarship Online

Abstract and Keywords This chapter casts a philosophical eye on selected concepts at the heart of this book, especially music and selfhood. The first premise is that what people assume and believe about concepts, ideas, and practices affects dramatically what people (e.g., musicians, physicians, psychologists) envision and seek to do ‘rightly’ for others. The second premise is that ‘music for health and wellbeing’ ought to be debated, conceived, and applied in relation to human beings considered holistically, as selves or persons, not simply distressed, unwell, or ‘diseased’ individuals. Otherwise, healers and researchers may assume too little about music's potencies and potentials for improving the quality of human life. Keywords: music, selfhood, health, wellbeing