In Alexander Bareis & Lene Nordrum (eds.), How to Make-Believe: The Fictional Truths of the Representational Arts. De Gruyter. pp. 283-306 (2015)

Eran Guter
Max Stern Yezreel Valley College
In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such complex games can accommodate a continuous rich spectrum of congruent modes of listening, which broaches both the formalist-type and the narrativist-type. We conclude that this sort of oblique reading of Walton’s original theory actually complements and completes Walton’s recent theoretic angle concerning thoughtwriting in music by way of affording it with a suitable conception for a mechanism of appropriation for music.
Keywords Make Believe  Philosophy of Music  Aesthetics  Kendall Walton  Ornament  formalism  persona theory  music
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Style and the Products and Processes of Art.Kendall Walton - 1979 - In Leonard B. Meyer & Berel Lang (eds.), The Concept of Style. University of Pennsylvania Press. pp. 45--66.
Listening with Imagination: Is Music Representational?Kendall Walton - 1994 - Journal of Aesthetics and Art Criticism 52 (1):47-61.

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Ornamentality in the New Media.Eran Guter - 2010 - In Anat Biletzki (ed.), Hues of Philosophy: Essays in Memory of Ruth Manor. College Publications. pp. 83-96.
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Listening with Imagination: Is Music Representational?Kendall Walton - 1994 - Journal of Aesthetics and Art Criticism 52 (1):47-61.
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