Authors
P. D. Magnus
State University of New York, Albany
Christy Mag Uidhir
University of Houston
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
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.
Mag Uidhir on Performance.P. D. Magnus - 2008 - British Journal of Aesthetics 48 (3):338-345.

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Citations of this work BETA

A Return to Musical Idealism.Wesley D. Cray & Carl Matheson - 2017 - Australasian Journal of Philosophy 95 (4):702-715.
Sonic Pictures.Jason P. Leddington - 2021 - Journal of Aesthetics and Art Criticism 79 (3):354-365.
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.

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Doing It Their Way: Rock Covers, Genre, and Appreciation.Michael Rings - 2013 - Journal of Aesthetics and Art Criticism 71 (1):55-63.

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