Works of Music: An Essay in Ontology

Oxford University Press (2007)
Abstract
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 -- Types and patterns -- Defending the type/token theory I -- Unstructuredness and analogical predication -- Musical works as fixed and unchanging -- Abstractness and audibility (again) -- Works and interpretations -- Conclusion and resumé -- Defending the type/token theory II : musical platonism -- Platonism it is : replies to Anderson and Levinson -- The existence conditions of works of music -- Composition as creative discovery -- The nature of the compositional process : replies to objections -- Composition and aesthetic appraisal : a reply to Levinson -- Composition and aesthetic appraisal : understanding, interpretation, and correctness -- Musical works as continuants : a theory rejected -- A theory introduced -- Explicating and motivating the continuant view -- The continuant view and repeatability -- Further objections to the continuant view -- Musical works as compositional actions : a critique -- Currie's action-type hypothesis -- Davies's performance theory -- Sonicism I : against instrumentalism -- Sonicism introduced -- Sonicism motivated : moderate empiricism -- Instrumentation : timbral sonicism introduced -- Scores -- Instrumentation, artistic properties, and aesthetic content -- Levinson's rejoinder -- Sonicism II : against contextualism -- Introduction : formulating contextualism -- Contextualist ontological proposals -- Levinson's doppelgänger thought-experiments -- Artistic, representational, and object-directed expressive properties -- Aesthetic and non-object-directed expressive properties -- Conclusion : the place of context.
Keywords Music Philosophy and aesthetics
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Call number ML3800.D594 2007
ISBN(s) 9780199284375   0199284377  
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Citations of this work BETA
How to Have a Radically Minimal Ontology.Ross P. Cameron - 2010 - Philosophical Studies 151 (2):249 - 264.
The Vagueness Argument Against Abstract Artifacts.Daniel Z. Korman - 2014 - Philosophical Studies 167 (1):57-71.
Musical Works: Ontology and Meta-Ontology.Julian Dodd - 2008 - Philosophy Compass 3 (6):1113-1134.
What Is a Recipe?Andrea Borghini - 2015 - Journal of Agricultural and Environmental Ethics 28 (4):719-738.

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