Switch to: References

Citations of:

Performances and recordings

&
In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. Routledge (2011)

Add citations

You must login to add citations.
  1. Organized Sound, Sounds Heard, and Silence.Douglas C. Wadle - 2023 - Ergo: An Open Access Journal of Philosophy 10.
    In this paper I argue that composer John Cage’s so-called ‘silent piece’, 4’33”, is music. I first defend it against the charge that it does not involve the organization of sound, which has been taken to be a necessary feature of music. I then argue that 4’33” satisfies the only other condition that must be met for it to be music: it bears the right socio-historical connections to its predecessors within its tradition (Western art music). I argue further that one (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  • Musik, Komposition, Improvisation: Grundbegriffe der Musikphilosophie, written by Timo Dresenkamp.Marcello Ruta - 2022 - Grazer Philosophische Studien 99 (2):329-334.
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
    		•
  • Music Pluralism, Music Realism, and Music Archaeology.Anton Killin - 2019 - Topoi 40 (1):261-272.
    According to pluralism about some concept, there are multiple non-equivalent, legitimate concepts pertaining to the ontological category in question. It is an open question whether conceptual pluralism implies anti-realism about that category. In this article, I argue that at least for the case of music, it does not. To undermine the application of an influential move from pluralism to anti-realism, then, I provide an argument in support of indifference realism about music, by appeal to music archaeological research, via an analogy (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   3 citations