Journal of Aesthetics and Art Criticism 71 (4):361-370 (2013)
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Abstract |
Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, but for which the new song is in part about the original song. In order to allow for the very possibility of transformative and referential covers, we argue that a cover is characterized by relation to a canonical track rather than merely by being a new instance of a song that had been recorded previously
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Keywords | Songs Music Art Evaluation |
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DOI | 10.1111/jaac.12034 |
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References found in this work BETA
Artworks as Historical Individuals.Guy Rohrbaugh - 2003 - European Journal of Philosophy 11 (2):177–205.
Making Tracks: The Ontology of Rock Music.Andrew Kania - 2006 - Journal of Aesthetics and Art Criticism 64 (4):401–414.
Doing It Their Way: Rock Covers, Genre, and Appreciation.Michael Rings - 2013 - Journal of Aesthetics and Art Criticism 71 (1):55-63.
Citations of this work BETA
A Return to Musical Idealism.Wesley D. Cray & Carl Matheson - 2017 - Australasian Journal of Philosophy 95 (4):702-715.
The Ontology of Musical Works and the Role of Intuitions: An Experimental Study.Christopher Bartel - 2018 - European Journal of Philosophy 26 (1):348-367.
Kind of Borrowed, Kind of Blue.P. D. Magnus - 2016 - Journal of Aesthetics and Art Criticism 74 (2):179-185.
Some Ideas About the Metaphysics of Stories.Wesley D. Cray - 2019 - British Journal of Aesthetics 59 (2):147-160.
View all 6 citations / Add more citations
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2013-05-10
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207 ( #55,613 of 2,506,443 )
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36 ( #25,015 of 2,506,443 )
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