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Andrew Kania [31]Andrew T. Kania [2]Andrew Thomas Kania [1]
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Profile: Andrew Kania
  1. Against the Ubiquity of Fictional Narrators.Andrew Kania - 2005 - Journal of Aesthetics and Art Criticism 63 (1):47–54.
    In this paper I argue against the theory--popular among theorists of narrative artworks--that we must posit a fictional narrative agent in every narrative artwork in order to explain our imaginative engagement with such works. I accept that every narrative must have a narrator, but I argue that in some central literary cases the narrator is not a fictional agent, but rather the actual author of the work. My criticisms focus on the strongest argument for the ubiquity of fictional narrators, Jerrold (...)
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  2. Piece for the End of Time: In Defence of Musical Ontology.Andrew Kania - 2008 - British Journal of Aesthetics 48 (1):65-79.
    Aaron Ridley has recently attacked the study of musical ontology—an apparently fertile area in the philosophy of music. I argue here that Ridley's arguments are unsound. There are genuinely puzzling ontological questions about music, many of which are closely related to questions of musical value. While it is true that musical ontology must be descriptive of pre-existing musical practices and that some debates, such as that over the creatability of musical works, have little consequence for questions of musical value, none (...)
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  3. The Methodology of Musical Ontology: Descriptivism and its Implications.Andrew Kania - 2008 - British Journal of Aesthetics 48 (4):426-444.
    I investigate the widely held view that fundamental musical ontology should be descriptivist rather than revisionary, that is, that it should describe how we think about musical works, rather than how they are independently of our thought about them. I argue that if we take descriptivism seriously then, first, we should be sceptical of art-ontological arguments that appeal to independent metaphysical respectability; and, second, we should give ‘fictionalism’ about musical works—the theory that they do not exist—more serious consideration than it (...)
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  4. The Philosophy of Music.Andrew Kania - 2008 - Stanford Encyclopedia of Philosophy.
    This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.
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  5. Making Tracks: The Ontology of Rock Music.Andrew Kania - 2006 - Journal of Aesthetics and Art Criticism 64 (4):401–414.
    I argue that the work of art in rock music is a track constructed in the studio, that tracks usually manifest songs, which can be performed live, and that a cover version is a track (successfully) intended to manifest the same song as some other track. This ontology reflects the way informed audiences talk about rock. It recognizes not only the centrality of recorded tracks to the tradition, as discussed by Theodore Gracyk, but also the value accorded to live performance (...)
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  6.  83
    All Play and No Work: An Ontology of Jazz.Andrew Kania - 2011 - Journal of Aesthetics and Art Criticism 69 (4):391-403.
    I argue for an ontology of jazz according to which it is a tradition of musical performances but no works of art. I proceed by rejecting three alternative proposals: (i) that jazz is a work performance tradition, (ii) that jazz performances are works of art in themselves, and (iii) that jazz recordings are works of art. I also note that the concept of a work of art involved (1) is nonevaluative, so to deny jazz works of art is not to (...)
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  7. Silent Music.Andrew Kania - 2010 - Journal of Aesthetics and Art Criticism 68 (4):343-353.
    In this essay, I investigate musical silence. I first discuss how to integrate the concept of silence into a general theory or definition of music. I then consider the possibility of an entirely silent musical piece. I begin with John Cage’s 4′33″, since it is the most notorious candidate for a silent piece of music, even though it is not, in fact, silent. I conclude that it is not music either, but I argue that it is a piece of non-musical (...)
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  8.  8
    Memento.Andrew Kania (ed.) - 2009 - Routledge.
    Within a short space of time, the film Memento has already been hailed as a modern classic. Memorably narrated in reverse, from the perspective of Leonard Shelby, the film’s central character, it follows Leonard’s chaotic and visceral quest to discover the identity of his wife’s killer and avenge her murder, despite his inability to form new long-term memories. This is the first book to explore and address the myriad philosophical questions raised by the film, concerning personal identity, free will, memory, (...)
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  9.  4
    Works, Recordings, Performances : Classical, Rock, Jazz.Andrew Kania - 2008 - In Mine Doğantan (ed.), Recorded Music: Philosophical and Critical Reflections. Middlesex University Press.
    In this paper I argue that the relations between musical works, performances, and recordings, are significantly different in the three traditions of Western classical, rock, and jazz music. In classical music the work of art – the enduring primary focus of critical attention – is a piece that receives various different performances. Classical recordings are best conceived of as giving the listener access to performances of works, or perhaps as performances in their own right. In rock, however, recordings are at (...)
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  10.  81
    The Illusion of Realism in Film.Andrew Kania - 2002 - British Journal of Aesthetics 42 (3):243-258.
    Gregory Currie, arguing against recent psychoanalytic and semiotic film theory, has defended various realist theses about film. The strongest of these is that ‘weak illusionism’—the view that the motion of film images is an illusion—is false. That is, Currie believes film images really do move. In this paper I defend the common-sense position of weak illusionism, firstly by showing that Currie underestimates the power of some arguments for it, especially one based on the mechanics of projection, and secondly by showing (...)
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  11.  19
    An Imaginative Theory of Musical Space and Movement.Andrew Kania - 2015 - British Journal of Aesthetics 55 (2):157-172.
    The experience of notes as higher or lower than one another, and of movement within passages of music, underpins many other musical experiences. Several theories of such an experience have been defended, claiming that concepts of space and movement variously play some sort of metaphorical role in our experience, can be eliminated from musical discourse, or apply literally to the music. I argue that all such theories should be rejected in favour of the view that our experience of musical space (...)
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  12.  17
    Breathing Deeply, with One Lung: The Problem of Latin Church Dominance Within the Catholic Church.Andrew T. Kania - 2004 - The Australasian Catholic Record 81 (2):198.
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  13.  16
    The Light That Shone in Darkness: Andrii Sheptyts' Kyi and the Jewish Holocaust.Andrew T. Kania - 2005 - The Australasian Catholic Record 82 (3):299.
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  14.  78
    Works of Music: An Essay in Ontology by Dodd, Julian. [REVIEW]Andrew Kania - 2008 - Journal of Aesthetics and Art Criticism 66 (2):201–203.
    A review of Julian Dodd's book, Works of Music.
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  15.  75
    Musical Recordings.Andrew Kania - 2009 - Philosophy Compass 4 (1):22-38.
    In this article, I first consider the metaphysics of musical recordings: their variety, repeatability, and transparency. I then turn to evaluative or aesthetic issues, such as the relative virtues of recordings and live performances, in light of the metaphysical discussion.
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  16.  63
    Review: Musical Works and Performances: A Philosophical Exploration. [REVIEW]Andrew Kania - 2003 - Mind 112 (447):513-518.
    A review of Stephen Davies's book, Musical Works and Performances.
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  17.  62
    Worlds Are Colliding! Explaining the Fictional in Terms of the Real.Andrew Kania - 2007 - Philosophical Studies 135 (1):65 - 71.
    I discuss Gregory Currie’s taxonomy of explanations of the fictional. On the one hand, there is an important kind of relation between internal and external explanations of some fictional truths that Currie leaves out, where both are salient and yet in a relation of harmony with each other. On the other hand, I do not see that he has established that there is a genuine relation of tension between some pairs of internal and external explanations, and thus I question the (...)
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  18.  37
    A Musical Photograph?Richard Beaudoin & Andrew Kania - 2012 - Journal of Aesthetics and Art Criticism 70 (1):115-127.
    We compare William Henry Fox Talbot’s 1835 photographic negative 'Latticed Window (with the Camera Obscura) August 1835' with Richard Beaudoin’s 2009 solo piano work 'Étude d’un Prélude VII -- Latticed Window'. We claim that the score of Beaudoin’s work is a musical photograph of a performance of another musical work, and support the claim by describing their respective photographic and compositional processes, emphasizing the uniqueness of this score in being mechanically counterfactually dependent on its target (a recording of a Chopin (...)
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  19.  52
    The Philosophy of Motion Pictures • by Noël Carroll.Andrew Kania - 2009 - Analysis 69 (1):194-195.
    Book review of _The Philosophy of Motion Pictures_ by Noël Carroll.
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  20.  6
    New Waves in Musical Ontology.Andrew Kania - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave-Macmillan. pp. 20--40.
    An overview of current issues in musical ontology, including debates about "fundamental" vs. "higher-order" musical ontology and skepticism about both kinds.
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  21.  30
    Review of Matthew Nudds, Casey O'Callaghan (Eds.), Sounds and Perception: New Philosophical Essays[REVIEW]Andrew Kania - 2010 - Notre Dame Philosophical Reviews 2010 (8).
    Review of Matthew Nudds and Casey O'Callaghan (eds.), _Sounds and Perception: New Philosophical Essays_.
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  22.  11
    Platonism Vs. Nominalism in Contemporary Musical Ontology.Andrew Kania - 2013 - In Christy Mag Uidhir (ed.), Art and Abstract Objects. Oxford University Press. pp. 197.
    In this essay I first outline contemporary Platonism about musical works – the theory that musical works are abstract objects. I then consider reasons to be suspicious of such a view, motivating a consideration of nominalist theories of musical works. I argue for two conclusions: first, that there are no compelling reasons to be a nominalist about musical works in particular, i.e. that nominalism about musical works rests on arguments for thoroughgoing nominalism, and, second, that if Platonism fails, fictionalism about (...)
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  23.  7
    Música e filosofia.Theodore Gracyk & Andrew Kania - 2011 - Critica.
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  24.  2
    Novas Tendências Em Ontologia Musical.Andrew Kania - 2010 - Critica.
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  25.  10
    Against Them, Too: A Reply to Alward.Andrew Kania - 2007 - Journal of Aesthetics and Art Criticism 65 (4):404–408.
    A response to Peter Alward's objections to the view that there may be fictional narratives without nonactual narrators.
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  26.  63
    The Routledge Companion to Philosophy and Music.Theodore Gracyk & Andrew Kania (eds.) - 2011 - Routledge.
    _The Routledge Companion to Philosophy and Music_ is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of music music, philosophy and related disciplines _The Routledge Companion to Philosophy and Music_ is essential reading for anyone interested in philosophy, music and musicology.
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  27. Groove: A Phenomenology of Rhythmic Nuance by Tiger C. Roholt.Andrew Kania - 2017 - Journal of Aesthetic Education 51 (1):115-119.
    Musicians of all sorts talk of getting “into a groove,” whether using those words or others; musical listeners also talk about the groove of a passage of music, a performance, or a recording. In his four-chapter essay, Groove, Tiger Roholt offers answers to questions that seem obvious candidates for philosophical inquiry yet that few philosophers have even touched on: what is a groove, exactly, and what is it to perceive or understand—to get— a groove? His answers are intriguing, not just (...)
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  28. Making Tracks: The Ontology of Rock Music.Andrew Kania - 2006 - Journal of Aesthetics and Art Criticism 64 (4):401-414.
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  29. Musical Works and Performances: A Philosophical Exploration. [REVIEW]Andrew Kania - 2003 - Mind 112 (447):513-518.
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  30. Performances and Recordings.Andrew Kania & Theodore Gracyk - 2011 - In Theodore Gracyk & Andrew Kania (eds.), Routledge Companion to Philosophy and Music. New York, USA: Routledge. pp. 80-90.
    An overview of philosophical issues raised by musical performances and recordings.
     
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  31. Piece for the End of Time: In Defence of Musical Ontology: Articles.Andrew Kania - 2008 - British Journal of Aesthetics 48 (1):65-79.
    Aaron Ridley has recently attacked the study of musical ontology—an apparently fertile area in the philosophy of music. I argue here that Ridley's arguments are unsound. There are genuinely puzzling ontological questions about music, many of which are closely related to questions of musical value. While it is true that musical ontology must be descriptive of pre-existing musical practices and that some debates, such as that over the creatability of musical works, have little consequence for questions of musical value, none (...)
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  32. Philosophy of Religion in the Renaissance by Paul Richard Blum.Andrew Thomas Kania - 2011 - New Blackfriars 92 (1041):630-631.
  33. Philosophy of Western Music: A Contemporary Introduction.Andrew Kania - 2020 - Routledge.
     
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  34. The Methodology of Musical Ontology: Descriptivism and its Implications: Articles.Andrew Kania - 2008 - British Journal of Aesthetics 48 (4):426-444.
    I investigate the widely held view that fundamental musical ontology should be descriptivist rather than revisionary, that is, that it should describe how we think about musical works, rather than how they are independently of our thought about them. I argue that if we take descriptivism seriously then, first, we should be sceptical of art-ontological arguments that appeal to independent metaphysical respectability; and, second, we should give ‘fictionalism’ about musical works—the theory that they do not exist—more serious consideration than it (...)
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