The mycelium has multi-valent connections through branchings and nodal connections allowing for material to pass around it in all directions – which is required for heteronomous accounts of musical meaning. Chapter 4 proposes the fungal mycelium, with its network of hyphae and fruiting bodies as a metaphor for the metaphysical space inhabited by musical meaning. Toynbee’s notion of the ‘Social Author’ and Latour’s Actor Network Theory are given diagrammatic explanations which prove useful in depicting how musical meaning can emerge in the metaphorical rhizomatic space. Toynbee and Latour are introduced as writers who describe Deleuzean rhizomatic spaces. It is argued that such a metaphysics is required to describe how musical objects interact in construction of heteronomous meanings. Deleuze’s ‘rhizome’ is introduced as the metaphysical space which is a bridging position between the two traditions, allowing for the necessity of ontological entities, but describing how they may interact epistemologically. These two traditions are a contrast between, respectively, what things are and how things are. The Continental philosophical tradition builds on the philosophy of Nietzsche and Heidegger, through Foucault and Derrida, in developing an epistemological account (the way things work and act). Chapter 3 contends that the descriptions of musical meaning outlined in Chapter 2 are given within the Anglo-American tradition of analytical philosophy whose aesthetics rely heavily on ontological classification (descriptions of what things are). Chapter 2 discusses five types of explanation: Grice’s natural meaning, ‘Kantian’ transcendence, emotional accounts of meaning, semiotic explanations and, ecological descriptions which are given a place on a ‘spectrum’ of increasing heteronomy. Chapter 1 reviews the literature relating to these accounts and argues that there are no purely autonomous musical meanings and that all descriptions of musical meaning rely on heteronomous explanations. How does music have meaning? Accounts describe musical meaning as autonomous (relating to music’s internal structures and properties) or as heteronomous (situating meaning as an interrelationship between the musical object and the world).
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