British Journal of Aesthetics 47 (3):298-314 (2007)

Authors
Christy Mag Uidhir
University of Houston
Abstract
This article claims that there is no in principle aesthetic difference between a live performance and a recording of that performance, and as such, performance individuation ought to be revised to reflect this. We ought to regard performances as types able to be instantiated both by live performances and by recordings of those performances, or we ought to abandon performances qua aesthetic objects
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DOI 10.1093/aesthj/aym009
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References found in this work BETA

Three Kinds of Recording and the Metaphysics of Music.Aron Edidin - 1999 - British Journal of Aesthetics 39 (1):24-39.
Listening to Music: Performances and Recordings.Theodore Gracyk - 1997 - Journal of Aesthetics and Art Criticism 55 (2):139-150.

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Citations of this work BETA

Auditory Perception.Casey O'Callaghan - 2014 - Stanford Encyclopedia of Philosophy 2009.
Musical Recordings.Andrew Kania - 2009 - Philosophy Compass 4 (1):22-38.
Mag Uidhir on Performance.P. D. Magnus - 2008 - British Journal of Aesthetics 48 (3):338-345.

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Similar books and articles

Musical Recordings.Andrew Kania - 2009 - Philosophy Compass 4 (1):22-38.
Listening to Music: Performances and Recordings.Theodore Gracyk - 1997 - Journal of Aesthetics and Art Criticism 55 (2):139-150.
Musical Recordings and Performances: A Response to Theodore Gracyk.Howard Niblock - 1999 - Journal of Aesthetics and Art Criticism 57 (3):366-368.
Mag Uidhir on Performance.P. D. Magnus - 2008 - British Journal of Aesthetics 48 (3):338-345.
Works and Performances in the Performing Arts.David Davies - 2009 - Philosophy Compass 4 (5):744-755.

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