According to certain models of the musical work-performance relationship, musical works persist through time. Dodd and Thomasson argue that perdurantist accounts of musical persistence—according to which musical works persist by having temporal parts at every time they exist—are untenable, and Tillman argues that musical endurantism—according to which persisting works are wholly present at each time they exist—avoids Dodd’s worries. In this paper, I argue that both Dodd’s and Thomasson’s arguments—and Tillman’s response—rely on assumptions linking theories of persistence to common-sense views (...) about musical works and, moreover, that these assumptions are unwarranted. As a result, only an attitude of neutrality towards questions about the nature of musical persistence is warranted. (shrink)

Material objects extend through space by having different spatial parts in different places. But how do they persist through time? According to some philosophers, things have temporal parts as well as spatial parts: accepting this is supposed to help us solve a whole bunch of metaphysical problems, and keep our philosophy in line with modern physics. Other philosophers disagree, arguing that neither metaphysics nor physics give us good reason to believe in temporal parts.