European Journal of Philosophy 30 (1):279-292 (2022)

John Dyck
University of West Georgia
Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation can individuate musical works, too. I argue here that there can be a further element of musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the ontology of music. Hardcore formalists cannot allow for spatial music. I argue that two other views, which allow a close relationship between sounds and musical works, can allow for works of spatial music. However, their ability to do so turns on issues in the philosophy of sound. I appeal to work in philosophy of sound to show that music is an art not just of hearing, but of sounds.
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DOI 10.1111/ejop.12632
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References found in this work BETA

What a Musical Work Is.Jerrold Levinson - 1980 - Journal of Philosophy 77 (1):5-28.
Artworks as Historical Individuals.Guy Rohrbaugh - 2003 - European Journal of Philosophy 11 (2):177–205.
Consciousness and the World.Brian O'shaughnessy - 2001 - Philosophical Quarterly 51 (205):532-539.
Defending Musical Perdurantism.Ben Caplan & Carl Matheson - 2006 - British Journal of Aesthetics 46 (1):59-69.
Individuals.David Pears & P. F. Strawson - 1961 - Philosophical Quarterly 11 (44):262.

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