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Andrew Kania [26]Andrew T. Kania [2]
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Profile: Andrew Kania (Trinity University)
  1. Andrew Kania (2005). Against the Ubiquity of Fictional Narrators. Journal of Aesthetics and Art Criticism 63 (1):47–54.
    In this paper I argue against the theory--popular among theorists of narrative artworks--that we must posit a fictional narrative agent in every narrative artwork in order to explain our imaginative engagement with such works. I accept that every narrative must have a narrator, but I argue that in some central literary cases the narrator is not a fictional agent, but rather the actual author of the work. My criticisms focus on the strongest argument for the ubiquity of fictional narrators, Jerrold (...)
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  2. Andrew Kania (2008). Piece for the End of Time: In Defence of Musical Ontology. British Journal of Aesthetics 48 (1):65-79.
    Aaron Ridley has recently attacked the study of musical ontology—an apparently fertile area in the philosophy of music. I argue here that Ridley's arguments are unsound. There are genuinely puzzling ontological questions about music, many of which are closely related to questions of musical value. While it is true that musical ontology must be descriptive of pre-existing musical practices and that some debates, such as that over the creatability of musical works, have little consequence for questions of musical value, none (...)
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  3. Andrew Kania (2008). The Methodology of Musical Ontology: Descriptivism and its Implications. British Journal of Aesthetics 48 (4):426-444.
    I investigate the widely held view that fundamental musical ontology should be descriptivist rather than revisionary, that is, that it should describe how we think about musical works, rather than how they are independently of our thought about them. I argue that if we take descriptivism seriously then, first, we should be sceptical of art-ontological arguments that appeal to independent metaphysical respectability; and, second, we should give ‘fictionalism’ about musical works—the theory that they do not exist—more serious consideration than it (...)
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  4. Andrew Kania, The Philosophy of Music. Stanford Encyclopedia of Philosophy.
    This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.
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  5. Andrew Kania (2006). Making Tracks: The Ontology of Rock Music. Journal of Aesthetics and Art Criticism 64 (4):401–414.
    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 (...)
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  6.  90
    Andrew Kania (2010). Silent Music. Journal of Aesthetics and Art Criticism 68 (4):343-353.
    In this essay, I investigate musical silence. I first discuss how to integrate the concept of silence into a general theory or definition of music. I then consider the possibility of an entirely silent musical piece. I begin with John Cage’s 4′33″, since it is the most notorious candidate for a silent piece of music, even though it is not, in fact, silent. I conclude that it is not music either, but I argue that it is a piece of non-musical (...)
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  7.  57
    Andrew Kania (2011). All Play and No Work: An Ontology of Jazz. Journal of Aesthetics and Art Criticism 69 (4):391-403.
    I argue for an ontology of jazz according to which it is a tradition of musical performances but no works of art. I proceed by rejecting three alternative proposals: (i) that jazz is a work performance tradition, (ii) that jazz performances are works of art in themselves, and (iii) that jazz recordings are works of art. I also note that the concept of a work of art involved (1) is nonevaluative, so to deny jazz works (...)
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  8.  46
    Theodore Gracyk & Andrew Kania (eds.) (2011). The Routledge Companion to Philosophy and Music. Routledge.
    " Guy Dammann, Guildhall School of Music and Drama, UK "This admirable volume will be welcomed by established philosophers of and especially - by those coming ...
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  9.  2
    Andrew Kania (ed.) (2009). Memento. Routledge.
    Within a short space of time, the film Memento has already been hailed as a modern classic. Memorably narrated in reverse, from the perspective of Leonard Shelby, the film’s central character, it follows Leonard’s chaotic and visceral quest to discover the identity of his wife’s killer and avenge her murder, despite his inability to form new long-term memories. This is the first book to explore and address the myriad philosophical questions raised by the film, concerning personal identity, free will, memory, (...)
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  10. Andrew Kania (2008). Works, Recordings, Performances : Classical, Rock, Jazz. In Mine Doğantan (ed.), Recorded Music: Philosophical and Critical Reflections. Middlesex University Press
     
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  11.  6
    Andrew Kania (2015). An Imaginative Theory of Musical Space and Movement. British Journal of Aesthetics 55 (2):157-172.
    The experience of notes as higher or lower than one another, and of movement within passages of music, underpins many other musical experiences. Several theories of such an experience have been defended, claiming that concepts of space and movement variously play some sort of metaphorical role in our experience, can be eliminated from musical discourse, or apply literally to the music. I argue that all such theories should be rejected in favour of the view that our experience of musical space (...)
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  12.  57
    Andrew Kania (2002). The Illusion of Realism in Film. British Journal of Aesthetics 42 (3):243-258.
    Gregory Currie, arguing against recent psychoanalytic and semiotic film theory, has defended various realist theses about film. The strongest of these is that ‘weak illusionism’—the view that the motion of film images is an illusion—is false. That is, Currie believes film images really do move. In this paper I defend the common-sense position of weak illusionism, firstly by showing that Currie underestimates the power of some arguments for it, especially one based on the mechanics of projection, and secondly by showing (...)
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  13.  62
    Andrew Kania (2003). Review: Musical Works and Performances: A Philosophical Exploration. [REVIEW] Mind 112 (447):513-518.
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  14.  66
    Andrew Kania (2008). Works of Music: An Essay in Ontology by Dodd, Julian. Journal of Aesthetics and Art Criticism 66 (2):201–203.
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  15.  59
    Andrew Kania (2009). Musical Recordings. Philosophy Compass 4 (1):22-38.
    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.
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  16.  57
    Andrew Kania (2007). Worlds Are Colliding! Explaining the Fictional in Terms of the Real. Philosophical Studies 135 (1):65 - 71.
    I discuss Gregory Currie’s taxonomy of explanations of the fictional. On the one hand, there is an important kind of relation between internal and external explanations of some fictional truths that Currie leaves out, where both are salient and yet in a relation of harmony with each other. On the other hand, I do not see that he has established that there is a genuine relation of tension between some pairs of internal and external explanations, and thus I question the (...)
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  17.  41
    Andrew Kania (2009). The Philosophy of Motion Pictures • by Noël Carroll. Analysis 69 (1):194-195.
    Book review of _The Philosophy of Motion Pictures_ by Noël Carroll.
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  18.  22
    Richard Beaudoin & Andrew Kania (2012). A Musical Photograph? Journal of Aesthetics and Art Criticism 70 (1):115-127.
    We compare William Henry Fox Talbot’s 1835 photographic negative 'Latticed Window (with the Camera Obscura) August 1835' with Richard Beaudoin’s 2009 solo piano work 'Étude d’un Prélude VII -- Latticed Window'. We claim that the score of Beaudoin’s work is a musical photograph of a performance of another musical work, and support the claim by describing their respective photographic and compositional processes, emphasizing the uniqueness of this score in being mechanically counterfactually dependent on its target (a recording of a Chopin (...)
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  19.  23
    Andrew Kania (2010). Review of Matthew Nudds, Casey O'Callaghan (Eds.), Sounds and Perception: New Philosophical Essays. [REVIEW] Notre Dame Philosophical Reviews 2010 (8).
    Review of Matthew Nudds and Casey O'Callaghan (eds.), _Sounds and Perception: New Philosophical Essays_.
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  20.  6
    Andrew Kania (2013). Platonism Vs. Nominalism in Contemporary Musical Ontology. In Christy Mag Uidhir (ed.), Art and Abstract Objects. Oxford University Press 197.
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  21.  5
    Theodore Gracyk & Andrew Kania (2011). Música e filosofia. Critica.
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  22. Andrew Kania (2008). New Waves in Musical Ontology. In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave Macmillan 20--40.
     
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  23.  1
    Andrew Kania (2010). Novas Tendências Em Ontologia Musical. Critica.
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  24.  10
    Andrew Kania (2007). Against Them, Too: A Reply to Alward. Journal of Aesthetics and Art Criticism 65 (4):404–408.
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  25. Theodore Gracyk & Andrew Kania (eds.) (2013). The Routledge Companion to Philosophy and Music. Routledge.
    _The Routledge Companion to Philosophy and Music_ is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of music music, philosophy and related disciplines _The Routledge Companion to Philosophy and Music_ is essential reading for anyone interested in philosophy, music and musicology.
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  26. Andrew T. Kania (2004). Breathing Deeply, with One Lung: The Problem of Latin Church Dominance Within the Catholic Church. The Australasian Catholic Record 81 (2):198.
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  27. Andrew Kania (ed.) (forthcoming). Philosophers on *Memento*. Routledge.
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  28. Andrew T. Kania (2005). The Light That Shone in Darkness: Andrii Sheptyts' Kyi and the Jewish Holocaust. The Australasian Catholic Record 82 (3):299.
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