Graduate studies at Western
British Journal of Aesthetics 45 (1):11-31 (2005)
|Abstract||There is some intuitive plausibility to the idea that composers create musical works by indicating sonic types in a historical context. But the idea is technically indefensible as it stands, requiring a thorough representational reform that also eliminates the type-theoretic commitments of current versions. On the reformed account, musical 'indication' is an operation of high level representational interpretation of concrete sounds, that can both explain the creativity of composers, and the often successful interpretations of their listeners. This approach also bypasses contentious issues regarding the status of both indicated and 'initiated' types, as extensively discussed in the BJA.|
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
|Through your library||Configure|
Similar books and articles
Stephen Davies (2008). Musical Works and Orchestral Colour. British Journal of Aesthetics 48 (4):363-375.
Nicola Gambino & Peter Aczel (2006). The Generalised Type-Theoretic Interpretation of Constructive Set Theory. Journal of Symbolic Logic 71 (1):67 - 103.
Robert Howell (2002). Types, Indicated and Initiated. British Journal of Aesthetics 42 (2):105-127.
Julian Dodd (2002). Defending Musical Platonism. British Journal of Aesthetics 42 (4):380-402.
Julian Dodd (2007). Works of Music: An Essay in Ontology. Oxford University Press.
Robert L. Campbell, Mark H. Bickhard, PO Box & Chandler-Ullmann Hall, Types of Constraints on Development: An Interactivist Approach.
Peter Alward (2004). The Spoken Work. Journal of Aesthetics and Art Criticism 62 (4):331–337.
John Dilworth (2003). A Counter-Example to Theatrical Type Theories. Philosophia 31 (1-2):165-170.
Added to index2009-01-28
Total downloads11 ( #107,531 of 738,370 )
Recent downloads (6 months)1 ( #61,778 of 738,370 )
How can I increase my downloads?