Frontiers of Philosophy in China 6 (2):284-297 (2011)

Abstract
A bewildering array of accounts of the ontology of musical works is available. Philosophers have held that works of music are sets of performances, abstract, eternal sound-event types, initiated types, compositional action types, compositional action tokens, ideas in a composer’s mind and continuants that perdure. This paper maintains that questions in the ontology of music are, in Rudolf Carnap’s sense of the term, pseudo-problems. That is, there is no alethic basis for choosing between rival musical ontologies. While we have no alethic basis for choosing any ontology of music, pragmatic reasons can be given for favoring certain ontologies of musical works over others.
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DOI 10.1007/s11466-011-0139-1
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References found in this work BETA

Word and Object.Willard Van Orman Quine - 1960 - Cambridge, MA, USA: MIT Press.
Two Dogmas of Empiricism.W. Quine - 1951 - [Longmans, Green].
From a Logical Point of View.W. V. O. Quine - 1953 - Harvard University Press.
Two Dogmas of Empiricism.Willard V. O. Quine - 1951 - Philosophical Review 60 (1):20–43.

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Citations of this work BETA

Intuitions in the Ontology of Musical Works.Elzė Sigutė Mikalonytė - 2022 - Review of Philosophy and Psychology 13 (2):455-474.
Ontologia da Arte.António Lopes - 2013 - Compêndio Em Linha de Problemas de Filosofia Analítica.
The Poverty of Musical Ontology.James O. Young - 2014 - Journal of Music and Meaning 13:1-19.

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