Philosophy Compass 4 (1):22-38 (2009)
|Abstract||In this article, I first consider the metaphysics of musical recordings: their variety, repeatability, and transparency. I then turn to evaluative or aesthetic issues, such as the relative virtues of recordings and live performances, in light of the metaphysical discussion.|
|Keywords||No keywords specified (fix it)|
|Through your library||Configure|
Similar books and articles
Andrew Kania (2008). Piece for the End of Time: In Defence of Musical Ontology. British Journal of Aesthetics 48 (1):65-79.
Andrew Kania (2008). Works, Recordings, Performances : Classical, Rock, Jazz. In Mine Doğantan (ed.), Recorded Music: Philosophical and Critical Reflections. Middlesex University Press.
Theodore Gracyk (2008). Documentation and Transformation in Musical Recordings. In Mine Doğantan (ed.), Recorded Music: Philosophical and Critical Reflections. Middlesex University Press.
Howard Niblock (1999). Musical Recordings and Performances: A Response to Theodore Gracyk. Journal of Aesthetics and Art Criticism 57 (3):366-368.
Eliot Bates (2004). Glitches, Bugs, and Hisses : The Degeneration of Musical Recordings and the Contemporary Musical Work. In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge.
Christy Mag Uidhir (2007). Recordings as Performances. British Journal of Aesthetics 47 (3):298-314.
Karolina Anastazja Anestopoulos, Sound Travels : Mapping Trajectories of Musical Recordings Towards and Within Sites of Meaning-Making.
Mine Doğantan (ed.) (2008). Recorded Music: Philosophical and Critical Reflections. Middlesex University Press.
Stephen Davies (2001). Musical Works and Performances: A Philosophical Exploration. Oxford University Press.
Christopher Bartel (2011). Music Without Metaphysics? British Journal of Aesthetics 51 (4):383-398.
Added to index2009-02-27
Total downloads27 ( #45,755 of 549,064 )
Recent downloads (6 months)3 ( #25,703 of 549,064 )
How can I increase my downloads?