British Journal of Aesthetics 45 (3):209-228 (2005)

Guy Rohrbaugh
Auburn University
Could a work of art actually authored by one artist have been authored, instead, by another? This is the question of the necessity of authorship. After distinguishing this question from another, regarding individuation, with which it is often confused, this paper offers an argument that authorship is indeed a necessary feature of most artworks. The argument proceeds from ‘independence principles’, which govern the processes by which artworks are produced. Independence principles are motivated, in turn, by metaphysical reflections on what it takes to prevent an artist from producing a particular work of art.
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DOI 10.1093/aesthj/ayi030
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References found in this work BETA

What a Musical Work Is.Jerrold Levinson - 1980 - Journal of Philosophy 77 (1):5-28.
Artworks as Historical Individuals.Guy Rohrbaugh - 2003 - European Journal of Philosophy 11 (2):177–205.
Musical Works as Eternal Types.Julian Dodd - 2000 - British Journal of Aesthetics 40 (4):424-440.
Platonism in Music: Another Kind of Defense.Peter Kivy - 1987 - American Philosophical Quarterly 24 (3):245 - 252.

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Citations of this work BETA

Why Can’T I Change Bruckner’s Eighth Symphony?David Friedell - 2020 - Philosophical Studies 177 (3):805-824.
Against Value Empiricism in Aesthetics.James Shelley - 2010 - Australasian Journal of Philosophy 88 (4):707-720.
Production and Necessity.Louis deRosset - 2009 - Philosophical Review 118 (2):153-181.

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