Musical recordings
Philosophy Compass 4 (1):22-38 (2009)
Abstract
In this article, I first consider the metaphysics of musical recordings: their variety, repeatability, and transparency. I then turn to evaluative or aesthetic issues, such as the relative virtues of recordings and live performances, in light of the metaphysical discussion.Author's Profile
DOI
10.1111/j.1747-9991.2008.00194.x
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2009-02-27
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Citations of this work
Rock as a Three-Value Tradition.Christopher Bartel - 2017 - Journal of Aesthetics and Art Criticism 75 (2):143-154.
Idealist Origins: 1920s and Before.Martin Davies & Stein Helgeby - 2014 - In Graham Oppy & Nick Trakakis (eds.), History of Philosophy in Australia and New Zealand. Dordrecht, Netherlands: Springer. pp. 15-54.
Listening to Other Minds: A Phenomenology of Pop Songs.Enrico Terrone - 2020 - British Journal of Aesthetics 60 (4):435-453.
A Musical Photograph?Richard Beaudoin & Andrew Kania - 2012 - Journal of Aesthetics and Art Criticism 70 (1):115-127.
Transparency and Egocentrism.Nils-Hennes Stear - 2021 - In Sonia Sedivy (ed.), Art, Representation, and Make-Believe: Essays on the Philosophy of Kendall L. Walton. New York, NY, USA: pp. 196-213.
References found in this work
The Transfiguration of the Commonplace: A Philosophy of Art.Arthur Coleman Danto - 1981 - Cambridge: Harvard University Press.
Transparent Pictures: On the Nature of Photographic Realism.Kendall L. Walton - 1984 - Critical Inquiry 11 (2):246-277.
Musical Works and Performances: A Philosophical Exploration.Stephen Davies - 2001 - Oxford University Press.
