David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
British Journal of Aesthetics 48 (4):363-375 (2008)
known as timbral sonicism, accepts that a musical work's orchestral colour is a factor in its identity, but denies that the use of the specified instruments is required for an authentic rendition of the work provided that sounds as of those instruments are achieved. This position has been defended by Julian Dodd. In arguing against his view, I appeal to empirical work showing that composers, musicians, and listeners typically hear through music to the actions that go into its production. In this respect, musical listening reflects the standard account of ‘ecological hearing’; we appreciate sounds as providing information about their sources rather than for their intrinsic qualities. On this basis, I suggest that musical instruments are not merely means to the production of the sounds of performances. Their use is mandated if such performances are to be properly formed. More specifically, when composers are able to make the instrumentation of their compositions central to the identity of those compositions, accurate performances must involve the appropriate use of the specified instruments. CiteULike Connotea Del.icio.us What's this?
|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
Julian Dodd (2013). Adventures in the Metaontology of Art: Local Descriptivism, Artefacts and Dreamcatchers. [REVIEW] Philosophical Studies 165 (3):1047-1068.
Similar books and articles
Jonathan A. Neufeld (2009). Musical Formalism and Political Performances. Contemporary Aesthetics 7.
Joseph Nathan Straus (2011). Extraordinary Measures: Disability in Music. Oxford University Press.
Andrew Kania (2008). The Methodology of Musical Ontology: Descriptivism and its Implications. British Journal of Aesthetics 48 (4):426-444.
Saam Trivedi (2008). Music and Metaphysics. Metaphilosophy 39 (1):124–143.
Stephen Davies (2006). Performance Interpretations of Musical Works. Nordic Journal of Aesthetics 18 (33-34).
Ben Caplan & Carl Matheson (2006). Defending Musical Perdurantism. British Journal of Aesthetics 46 (1):59-69.
Stephen Davies (2001). Musical Works and Performances: A Philosophical Exploration. Oxford University Press.
Julian Dodd (2010). Confessions of an Unrepentant Timbral Sonicist. British Journal of Aesthetics 50 (1):33-52.
Stephen Davies (2007). Musical Ontology. Sounds, Instruments and Works of Music / Julian Dodd ; Doing Justice to Musical Works / Michael Morris ; Versions of Musical Works and Literary Translations. In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.
Added to index2009-01-28
Total downloads18 ( #105,884 of 1,410,533 )
Recent downloads (6 months)3 ( #76,382 of 1,410,533 )
How can I increase my downloads?