Musical recordings

Philosophy Compass 4 (1):22-38 (2009)
  Copy   BIBTEX

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.

Links

PhilArchive



    Upload a copy of this work     Papers currently archived: 89,330

External links

Setup an account with your affiliations in order to access resources via your University's proxy server

Through your library

Analytics

Added to PP
2009-02-27

Downloads
133 (#124,855)

6 months
4 (#305,365)

Historical graph of downloads
How can I increase my downloads?

Author's Profile

Andrew Kania
Trinity University

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.

View all 6 citations / Add more citations

References found in this work

Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
Sounds: a philosophical theory.Casey O'Callaghan - 2007 - New York: Oxford University Press.

View all 36 references / Add more references