British Journal of Aesthetics 48 (3):295-314 (2008)
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 English sentences we want to hold true are literally true. I rely on a meta-ontological view whereby ‘a exists’ can be true without committing us to an entity that is a. This meta-ontological view is illustrated by its application to the familiar example of the statue and the clay. I argue that my account of musical ontology fares better on the balance of costs and benefits than its rivals
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How to Have a Radically Minimal Ontology.Ross P. Cameron - 2010 - Philosophical Studies 151 (2):249 - 264.
Truthmakers and Ontological Commitment: Or How to Deal with Complex Objects and Mathematical Ontology Without Getting Into Trouble.Ross P. Cameron - 2008 - Philosophical Studies 140 (1):1 - 18.
Fundamental Quantification and the Language of the Ontology Room.Daniel Z. Korman - 2015 - Noûs 49 (2):298-321.
The Vagueness Argument Against Abstract Artifacts.Daniel Z. Korman - 2014 - Philosophical Studies 167 (1):57-71.
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