Fine Individuation
British Journal of Aesthetics 47 (2):113-137 (2007)
| Abstract | Jerrold Levinson argues that musical works are individuated by their context of origin. But one could just as well argue that musical works are individuated by their context of reception. Moderate contextualism, according to which musical works are individuated by context of origin but not by context of reception, thus appears to be an unstable position. And, although a more thoroughgoing contextualism, according to which musical works are individuated both by context of origin and by context of reception, faces a number of problems, it is nonetheless supported (at least to some extent) by critical practice. | |||||||||
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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.
Saam Trivedi (2002). Against Musical Works as Eternal Types. British Journal of Aesthetics 42 (1):73-82.
Ingo Brigandt (2004). Holism, Concept Individuation, and Conceptual Change. In M. Hernandez Iglesias (ed.), Proceedings of the 4th Congress of the Spanish Society for Analytic Philosophy.
Saam Trivedi (2008). Music and Metaphysics. Metaphilosophy 39 (1):124–143.
Ben Caplan & Carl Matheson (2004). Can a Musical Work Be Created? British Journal of Aesthetics 44 (2):113-134.
Simon J. Evnine (2009). Constitution and Qua Objects in the Ontology of Music. British Journal of Aesthetics 49 (3):203-217.
Ben Caplan & Carl Matheson (2006). Defending Musical Perdurantism. British Journal of Aesthetics 46 (1):59-69.
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