Authors
James O. Young
University of Victoria
Abstract
Aaron Ridley posed the question of whether results in the ontology of musical works would have implications for judgements about the interpretation, meaning or aesthetic value of musical works and performances. His arguments for the conclusion that the ontology of musical works have no aesthetic consequences are unsuccessful, but he is right in thinking (in opposition to Andrew Kania and others) that ontological judgements have no aesthetic consequences. The key to demonstrating this conclusion is the recognition that ontological judgments are a priori and aesthetic judgments are empirical. A priori judgements have no empirical consequences. Neither fundamental ontology of music nor higher- order ontological reflections have any aesthetic consequences.
Keywords Ontology of art  Ontology of music  philosophy of music
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References found in this work BETA

Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
What a Musical Work Is.Jerrold Levinson - 1980 - Journal of Philosophy 77 (1):5-28.
Defending Musical Perdurantism.Ben Caplan & Carl Matheson - 2006 - British Journal of Aesthetics 46 (1):59-69.

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