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  1. Musical Perdurantism and the Problem of Intermittent Existence.Alexey Aliyev - forthcoming - Grazer Philosophische Studien.
    Recently, a number of philosophers have defended a novel, materialist view on the nature of musical works—musical perdurantism. According to this view, musical works are a peculiar kind of concreta, namely perduring mereological sums of performances and/or other concrete entities. One problem facing musical perdurantism stems from the thought that if this view is correct, then virtually no musical work can exist in a continuous, non-intermittent fashion. The aim of this paper is to expound this problem and show that it (...)
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  2. The Metaphysics of Mash‐Ups.Christopher Bartel - 2015 - Journal of Aesthetics and Art Criticism 73 (3):297-308.
    Accounts of the ontology of musical works seek to uncover what metaphysically speaking a musical work is and how we should identify instances of musical works. In this article, I examine the curious case of the mash-up and seek to address two questions: are mash-ups musical works in their own right and what is the relationship between the mash-up and its source materials? As mash-ups are part of the broader tradition of rock, I situate this discussion within an ontology of (...)
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  3. Music Without Metaphysics?Christopher Bartel - 2011 - British Journal of Aesthetics 51 (4):383-398.
    In a recent pair of articles, Aaron Ridley and Andrew Kania have debated the merits of the study of musical ontology. Ridley contends that the study of musical ontology is orthogonal to more pressing concerns over the value of music. Kania rejects this, arguing that a theory of the value of music must begin with an understanding of the ontology of music. In this essay, I will argue that, despite Kania's rejections, Ridley's criticism exposes a false methodological assumption that needs (...)
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  4. Works of Music – Julian Dodd.Christopher Bartel - 2009 - Philosophical Quarterly 59 (237):760-762.
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  5. Glitches, Bugs, and Hisses : The Degeneration of Musical Recordings and the Contemporary Musical Work.Eliot Bates - 2004 - In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge.
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  6. Hearing and Seeing Musical Expression.Vincent Bergeron & Dominic Mciver Lopes - 2009 - Philosophy and Phenomenological Research 78 (1):1-16.
    Everybody assumes that musical performances are sonic events and that their expressive properties are sonic properties. This paper discusses recent findings in the psychology of music perception that show that visual information combines with auditory information in the perception of musical expression. The findings show at the very least that arguments are needed for and. If music expresses what we think it does, then its expressive properties may be visual as well as sonic; and if its expressive properties are purely (...)
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  7. Paganini Does Not Repeat. Musical Improvisation and the Type/Token Ontology.Bertinetto Alessandro - 2012 - Teorema: International Journal of Philosophy 31 (3):105-126.
    This paper explores the ontology of musical improvisation (MI). MI, as process in which creative and performing activities are one and the same generative occurrence, is contrasted with the most widespread conceptual resource used in inquiries about music ontology of the Western tradition: the type/token duality (TtD). TtD, which is used for explaining the relationship between musical works (MWs) and performances, does not fit for MI. Nonetheless MI can be ontologically related to MWs. A MW can ensue from MI and (...)
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  8. Extant Medieval Musical Instruments: A Provisional Catalogue by Types. Frederick Crane.Edmund A. Bowles - 1974 - Speculum 49 (2):324-326.
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  9. Do Higher-Order Music Ontologies Rest on a Mistake?L. B. Brown - 2011 - British Journal of Aesthetics 51 (2):169-184.
    Recent work in the ontology of music suggests that we will avoid confusion if we distinguish between two kinds of question that are typically posed in music ontology. Thus, a distinction has been made between fundamental ontology and higher-order ontology. The former addresses questions about the basic metaphysical options from which ontologists choose. For instance, are musical works types, indicated types, classes of particulars, or some other kind of entity? Higher-order ontology addresses the question of what lies ‘at the centre’ (...)
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  10. Phonography, Rock Records, and the Ontology of Recorded Music.Lee B. Brown - 2000 - Journal of Aesthetics and Art Criticism 58 (4):361-372.
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  11. Interpreting Music: Beyond Platonism.Otavio Bueno - unknown
    Central to the philosophical understanding of music is the status of musical works. According to the Platonist, musical works are abstract objects; that is, they are not located in space or time, and we have no causal access to them. Moreover, only a particular physical occurrence of these musical works is instantiated when a performance ofthe latter takes place. But even if no performance ever took place, the Platonist insists, the musical work would still exist, since its existence is not (...)
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  12. There Are No Things That Are Musical Works.Ross Cameron - 2008 - British Journal of Aesthetics 48 (3):295-314.
    Works of music do not appear to be concrete objects; but they do appear to be created by composers, and abstract objects do not seem to be the kind of things that can be created. In this paper I aim to develop an ontological position that lets us salvage the creativity intuition without either adopting an ontology of created abstracta or identifying musical works with concreta. I will argue that there are no musical works in our ontology, but nevertheless the (...)
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  13. Defending Musical Perdurantism.Ben Caplan & Carl Matheson - 2006 - British Journal of Aesthetics 46 (1):59-69.
    If musical works are abstract objects, which cannot enter into causal relations, then how can we refer to musical works or know anything about them? Worse, how can any of our musical experiences be experiences of musical works? It would be nice to be able to sidestep these questions altogether. One way to do that would be to take musical works to be concrete objects. In this paper, we defend a theory according to which musical works are concrete objects. In (...)
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  14. Can a Musical Work Be Created?Ben Caplan & Carl Matheson - 2004 - British Journal of Aesthetics 44 (2):113-134.
    Can a musical work be created? Some say ‘no’. But, we argue, there is no handbook of universally accepted metaphysical truths that they can use to justify their answer. Others say ‘yes’. They have to find abstract objects that can plausibly be identified with musical works, show that abstract objects of this sort can be created, and show that such abstract objects can persist. But, we argue, none of the standard views about what a musical work is allows musical works (...)
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  15. Musical Platonism in Elizabethan Renaissance.I. Chrissochoidis - unknown
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  16. Are Musical Works Discovered?Renée Cox - 1985 - Journal of Aesthetics and Art Criticism 43 (4):367-374.
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  17. Unperformable Works and the Ontology of Music.Wesley D. Cray - 2016 - British Journal of Aesthetics 56 (1):67-81.
    Some artworks—works of music, theatre, dance, and the like—are works for performance. Some works for performance are, I contend, unperformable. Some such works are unperformable by beings like us; others are unperformable given our laws of nature; still others are unperformable given considerations of basic logic. I offer examples of works for performance—focusing, in particular, on works of music—that would fit into each of these categories, and go on to defend the claim that such ‘works’ really are genuine works, musical (...)
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  18. Later Works. [REVIEW]R. D. - 1956 - Review of Metaphysics 10 (2):357-357.
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  19. Works and Performances in the Performing Arts.David Davies - 2009 - Philosophy Compass 4 (5):744-755.
    The primary purpose of the performing arts is to prepare and present 'artistic performances', performances that either are themselves the appreciative focuses of works of art or are instances of other things that are works of art. In the latter case, we have performances of what may be termed 'performed works', as is generally taken to be so with performances of classical music and traditional theatrical performances. In the former case, we have what may be termed 'performance-works', as, for example, (...)
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  20. Musical Ontology. Sounds, Instruments and Works of Music / Julian Dodd ; Doing Justice to Musical Works / Michael Morris ; Versions of Musical Works and Literary Translations.Stephen Davies - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.
  21. Confessions of an Unrepentant Timbral Sonicist.Julian Dodd - 2010 - British Journal of Aesthetics 50 (1):33-52.
    Simplifying somewhat, sonicists believe that works of music are individuated purely in terms of how they sound. For them, exact sound-alikes are identical. Stephen Davies, in his ‘Musical Works and Orchestral Colour’ ( BJA 48 (2008), pp. 363–375) took me to task for defending a version of sonicism. In this paper I seek to explain why Davies's objections miss their mark. In the course of the discussion, I make some methodological remarks about the ontology of music.
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  22. Teaching & Learning Guide For: Musical Works: Ontology and Meta-Ontology.Julian Dodd - 2009 - Philosophy Compass 4 (6):1044-1048.
    A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...)
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  23. Musical Works: Ontology and Meta-Ontology.Julian Dodd - 2008 - Philosophy Compass 3 (6):1113-1134.
    The ontological nature of works of music has been a particularly lively area of philosophical debate during the past few years. This paper serves to introduce the reader to some of the most fertile and interesting issues. Starting by distinguishing three questions – the categorial question, the individuation question, and the persistence question – the article goes on to focus on the first: the question of which ontological category musical works fall under. The paper ends by introducing, and briefly considering, (...)
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  24. Works of Music: An Essay in Ontology.Julian Dodd - 2007 - Oxford University Press.
    Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered -- (...)
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  25. Types, Continuants, and the Ontology of Music.Julian Dodd - 2004 - British Journal of Aesthetics 44 (4):342-360.
    Are works of music types of performance or are they continuants? Types are unchanging entities that could not have been otherwise; continuants can undergo change through time and could have been different. Picking up on this distinction, Guy Rohrbaugh has recently argued that musical works are continuants rather than performance-types. This paper replies to his arguments and, in the course of so doing, elaborates and defends the conception of musical works as types of performance. I end the article by arguing (...)
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  26. Defending Musical Platonism.Julian Dodd - 2002 - British Journal of Aesthetics 42 (4):380-402.
    This paper sees me clarify, elaborate, and defend the conclusions reached in my ‘Musical Works as Eternal Types’ in the wake of objections raised by Robert Howell, R. A. Sharpe, and Saam Trivedi. In particular, I claim that the thesis that musical works are discovered rather than created by their composers is obligatory once we commit ourselves to thinking of works of music as types, and once we properly understand the ontological nature of types and properties. The central argument of (...)
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  27. Musical Works as Eternal Types.Julian Dodd - 2000 - British Journal of Aesthetics 40 (4):424-440.
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  28. Arbeit am Kanon: Zu Hugo Wolfs Musikkritiken.Andreas Dorschel - 2007 - Musicologica Austriaca 26:43-52.
    Cultivation of the musical canon and canonisation of truly original work can be identified as guiding principles of both Hugo Wolf’s artistic and his critical practice. The latter is shaped by classicist tropes; they may serve strategic functions as well, yet cannot be reduced to them. While he rejects the merely old-fashioned, Wolf also leads a striking attack on what he terms “modern music”. His endorsed aesthetics intertwine the old and the new.
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  29. Das anwesend Abwesende: Musik und Erinnerung.Andreas Dorschel - 2007 - In Resonanzen. Vom Erinnern in der Musik. Universal Edition. pp. 12-29.
    Remembrance is constitutive of music. For music emerges not as an isolated physical stimulus. Rather, it is experienced, i.e., a present musical moment is tied to its temporal antecedents. It is tempting to conceive of remembrance as repetition and as thus opposed to oblivion. Yet to memory selectivity is crucial. What is not selected, falls into oblivion. Hence as we remember we have forgotten already. The present moment evokes remembrance, and exhibits what was then in the light of what is (...)
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  30. Was heißt konservativ in der Kunst? Das Horn im 19. Jahrhundert und das Es-Dur-Trio op. 40 von Johannes Brahms: eine ästhetische Fallstudie.Andreas Dorschel - 2005 - Brahms-Studien 14:55-66.
    What does it mean to be conservative? What could it mean in the arts? Whoever merely conserves works of art may be a collector but is not an artist. Brahms’s trio op. 40 conserves the hand horn idiom. Yet its aesthetics will not be captured by the opposition of ‘conservative’ versus ‘progressive’. What is superior in terms of technology, Brahms maintained, need not be superior in terms of art.
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  31. Was ist musikalische Wertungsforschung?Andreas Dorschel - 2004 - Jahrbuch des Staatlichen Instituts Für Musikforschung Preußischer Kulturbesitz:371-385.
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  32. Das ‘Urteil der Geschichte’. Über ‘historische Gerechtigkeit’ in der Wertung musikalischer Werke.Andreas Dorschel - 2003 - Österreichische Musikzeitschrift 58 (2):6-17.
  33. Rettende Interpretation.Andreas Dorschel - 2003 - In Otto Kolleritsch (ed.), Musikalische Produktion und Interpretation. Zur historischen Unaufhebbarkeit einer ästhetischen Konstellation. Universal Edition. pp. 199-211.
    Aestheticians in the tradition of Critical Theory have claimed that the or a purpose of musical interpretation is somehow to save or salvage or rescue ("retten") the musical work. What sense, if any, can be made of this claim? The notion of salvage or rescue presupposes the concept of danger. Threats to works of art emerge from two sources: from outside and from inside. Whilst the former problem is only touched upon, the latter is discussed in some detail, using the (...)
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  34. Rameau's Nephew and Other Works. [REVIEW]T. E. - 1956 - Review of Metaphysics 10 (2):361-361.
  35. If All the Songs Were Sets.Nikk Effingham - unknown
    This paper argues that, if we believe both in works of music and sets, that the former are the latter. My argument is that such an ontology offers more explanatory power than the alternatives when it comes to explaining why works of music fall under the predicates that they do.
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  36. The Metaphysics of Musical Works.Nikk Effingham - unknown
    Given realism about musical works, we must ask what to identify musical works with. I criticse two theories (that works are fusions of performances and that works are eternal types) before presenting my own theory identifying (that works are identical to sets). I then defend that theory against objections.
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  37. Constitution and Qua Objects in the Ontology of Music.Simon J. Evnine - 2009 - British Journal of Aesthetics 49 (3):203-217.
    Musical Platonists identify musical works with abstract sound structures but this implies that they are not created but only discovered. Jerrold Levinson adapts Platonism to allow for creation by identifying musical works with indicated sound structures. In this paper I explore the similarities between Levinson's view and Kit Fine's theory of qua objects. Fine offers the theory of qua objects as an account of constitution, as it obtains, for example, between a statue and the clay the statue is made out (...)
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  38. Discovery, Creation, and Musical Works.John Andrew Fisher - 1991 - Journal of Aesthetics and Art Criticism 49 (2):129-136.
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  39. Are There No Things That Are Scientific Theories?S. French & P. Vickers - 2011 - British Journal for the Philosophy of Science 62 (4):771-804.
    The ontological status of theories themselves has recently re-emerged as a live topic in the philosophy of science. We consider whether a recent approach within the philosophy of art can shed some light on this issue. For many years philosophers of aesthetics have debated a paradox in the (meta)ontology of musical works (e.g. Levinson [1980]). Taken individually, there are good reasons to accept each of the following three propositions: (i) musical works are created; (ii) musical works are abstract objects; (iii) (...)
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  40. On Representing Jazz: An Art Form in Need of Understanding.Garry Hagberg - 2002 - Philosophy and Literature 26 (1):188-198.
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  41. Works of Art and Other Cultural Objects.Andrew Harrison - 1967 - Proceedings of the Aristotelian Society 68:105 - 128.
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  42. Types, Tokens and the Identity of the Musical Work.Nigel Harrison - 1975 - British Journal of Aesthetics 15 (4):336-346.
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  43. 7 Musical Identity.Christopher Hogwood - 2010 - In Giselle Walker & E. S. Leedham-Green (eds.), Identity. Cambridge University Press. pp. 21--157.
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  44. The Imaginary Museum of Musical Works.V. A. Howard - 1999 - International Studies in Philosophy 31 (2):145-147.
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  45. Software is an Abstract Artifact.Nurbay Irmak - 2012 - Grazer Philosophische Studien 86 (1):55-72.
    Software is a ubiquitous artifact, yet not much has been done to understand its ontological nature. There are a few accounts offered so far about the nature of software. I argue that none of those accounts give a plausible picture of the nature of software. I draw attention to the striking similarities between software and musical works. These similarities motivate to look more closely on the discussions regarding the nature of the musical works. With the lessons drawn from the ontology (...)
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  46. The Political Works. [REVIEW]F. D. J. - 1958 - Review of Metaphysics 12 (1):150-150.
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  47. The Methodology of Musical Ontology: Descriptivism and its Implications.Andrew Kania - 2008 - 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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  48. Platonism Vs. Nominalism in Contemporary Musical Ontology.Andrew Kania - 2013 - In Christy Mag Uidhir (ed.), Art and Abstract Objects. Oxford University Press. pp. 197.
    In this essay I first outline contemporary Platonism about musical works – the theory that musical works are abstract objects. I then consider reasons to be suspicious of such a view, motivating a consideration of nominalist theories of musical works. I argue for two conclusions: first, that there are no compelling reasons to be a nominalist about musical works in particular, i.e. that nominalism about musical works rests on arguments for thoroughgoing nominalism, and, second, that if Platonism fails, fictionalism about (...)
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  49. New Waves in Musical Ontology.Andrew Kania - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave-Macmillan. pp. 20--40.
    An overview of current issues in musical ontology, including debates about "fundamental" vs. "higher-order" musical ontology and skepticism about both kinds.
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  50. Piece for the End of Time: In Defence of Musical Ontology.Andrew Kania - 2008 - 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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