Philosophical Studies 177 (3):805-824 (2020)

Authors
David Friedell
Union College
Abstract
Musical works change. Bruckner revised his Eighth Symphony. Ella Fitzgerald and many other artists have made it acceptable to sing the jazz standard “All the Things You Are” without its original verse. If we accept that musical works genuinely change in these ways, a puzzle arises: why can’t I change Bruckner’s Eighth Symphony? More generally, why are some individuals in a privileged position when it comes to changing musical works and other artifacts, such as novels, films, and games? I give a view of musical works that helps to answer these questions. Musical works, on this view, are created abstract objects with no parts. The paradigmatic changes that musical works undergo are socially determined normative changes in how they should be performed. Due to contingent social practices, Bruckner, but not I, can change how his symphony should be performed. Were social practices radically different, I would be able to change his symphony. This view extends to abstract artifacts beyond music, including novels, films, words, games, and corporations.
Keywords music  abstract objects  ontology of art  change  Evnine  Rohrbaugh
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DOI 10.1007/s11098-018-1207-3
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References found in this work BETA

Essence and Modality.Kit Fine - 1994 - Philosophical Perspectives 8 (Logic and Language):1-16.
Fiction and Metaphysics.Amie L. Thomasson - 1998 - Cambridge University Press.
Words.David Kaplan - 1990 - Aristotelian Society Supplementary Volume 64 (1):93-119.

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Citations of this work BETA

An Ontological Justification for Contextual Authenticity.Caterina Moruzzi - 2019 - British Journal of Aesthetics 59 (4):413-427.
Debugging the Case for Creationism.Patrick Grafton-Cardwell - 2020 - Philosophical Studies 177 (11):3509-3527.
Establishments as Material Rather Than Immaterial Objects.Frank A. Hindriks - forthcoming - Tandf: Australasian Journal of Philosophy:1-6.

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