David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
British Journal of Aesthetics 51 (2):169-184 (2011)
Recent work in the ontology of music suggests that we will avoid confusion if we distinguish between two kinds of question that are typically posed in music ontology. Thus, a distinction has been made between fundamental ontology and higher-order ontology. The former addresses questions about the basic metaphysical options from which ontologists choose. For instance, are musical works types, indicated types, classes of particulars, or some other kind of entity? Higher-order ontology addresses the question of what lies ‘at the centre’ of a specific form of music, such as rock or jazz—or perhaps classical music. The argument of this essay is, first, that a close examination of the best efforts in two of these territories shows that they have the effect of pressing the music in each sphere into implausible Procrustean beds. Second, it is argued that the general question that higher-order ontologies pose, that is, ‘What work-kind is it that lies at the centre of a given kind of music, F?’ is a question based on a mistaken but seductive assumption, namely that the concept of the work of F has actual application. In fact, these concepts—upon which higher-order ontology depends—are mere artefacts of philosophy. The question is also addressed why the assumption is so seductive. Finally, the question finally is posed about what, if anything, is implied from the foregoing about the traditional ontology of classical music
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
James Young (2011). The Ontology of Musical Works: A Philosophical Pseudo-Problem. Frontiers of Philosophy in China 6 (2):284-297.
Jenefer Robinson (ed.) (1997). Music & Meaning. Cornell University Press.
Andrew Kania, The Philosophy of Music. Stanford Encyclopedia of Philosophy.
Julian Dodd (2008). Musical Works: Ontology and Meta-Ontology. Philosophy Compass 3 (6):1113-1134.
Christopher Bartel (2011). Music Without Metaphysics? British Journal of Aesthetics 51 (4):383-398.
Ruud Welten (2009). What Do We Hear When We Hear Music? Studia Phaenomenologica 9:269-286.
A. Kania (2012). In Defence of Higher-Order Musical Ontology: A Reply to Lee B. Brown. British Journal of Aesthetics 52 (1):97-102.
Lydia Goehr (1998/2002). The Quest for Voice: On Music, Politics, and the Limits of Philosophy: The 1997 Ernest Bloch Lectures. Oxford University Press.
Malcolm Budd (1985). Music and the Emotions: The Philosophical Theories. Routledge & Kegan Paul.
Carolyn Beckingham (2009). Moribund Music: Can Classical Music Be Saved? Sussex Academic Press.
Robin Maconie (1990). The Concept of Music. Oxford University Press.
Calvin M. Johansson (1998). Music & Ministry: A Biblical Counterpoint. Hendrickson Publishers.
Susanne Herrmann-Sinai (2009). Musik und Zeit bei Kant. Kant-Studien 100 (4):427-453.
Michael Talbot (ed.) (2000). The Musical Work: Reality or Invention? Liverpool University Press.
Added to index2011-04-15
Total downloads34 ( #51,973 of 1,102,917 )
Recent downloads (6 months)3 ( #120,639 of 1,102,917 )
How can I increase my downloads?