Making tracks: The ontology of rock music

Journal of Aesthetics and Art Criticism 64 (4):401–414 (2006)
I argue that the work of art in rock music is a track constructed in the studio, that tracks usually manifest songs, which can be performed live, and that a cover version is a track (successfully) intended to manifest the same song as some other track. This ontology reflects the way informed audiences talk about rock. It recognizes not only the centrality of recorded tracks to the tradition, as discussed by Theodore Gracyk, but also the value accorded to live performance skills, emphasized by Stephen Davies.
Keywords No keywords specified (fix it)
Categories (categorize this paper)
DOI 10.1111/j.1540-594X.2006.00219.x
 Save to my reading list
Follow the author(s)
My bibliography
Export citation
Find it on Scholar
Edit this record
Mark as duplicate
Revision history Request removal from index
Download options
PhilPapers Archive

Upload a copy of this paper     Check publisher's policy on self-archival     Papers currently archived: 15,938
External links
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.

Add more references

Citations of this work BETA
Andrew Kania (2009). Musical Recordings. Philosophy Compass 4 (1):22-38.

Add more citations

Similar books and articles

Monthly downloads

Added to index


Total downloads

109 ( #21,652 of 1,725,632 )

Recent downloads (6 months)

2 ( #268,736 of 1,725,632 )

How can I increase my downloads?

My notes
Sign in to use this feature

Start a new thread
There  are no threads in this forum
Nothing in this forum yet.