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62 found
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  1. Type Realism Reconsidered.Nurbay Irmak - forthcoming - Journal of Aesthetics and Art Criticism:1-11.
    Realism about types is the view that types are abstract and repeatable objects. Although type realists seem to agree that types, unlike properties, are objects in their own right, they argue that there is a metaphysically intimate tie between the existence conditions of types and properties. In particular, most type realists believe that types are, in a certain sense, determined by the properties that underlie them. I argue that this is a mistake, especially for those type realists who believe that (...)
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  2. Home to Roost: Some Problems for the Nested-Types Theory of Musical Works, Versions, and Authentic Performance.Andrew Kania - forthcoming - Estetika: The European Journal of Aesthetics 59 (2):153-164.
    Nemesio G. C. Puy argues that the "nested types" ontology of works of Western classical music can solve recent disagreements about such works' authentic performance. I raise several objections to his argument.
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  3. Does the Phineas Gage Effect Extend to Aesthetic Value?Elzė Sigutė Mikalonytė & Clément Canonne - forthcoming - Philosophical Psychology.
    In the last twenty years, a large number of studies have investigated judgments of the identity of various objects (e.g., persons, material objects, institutions) over time. One influential strand of research has found that identity judgments are shaped by normative considerations. People tend to believe that moral improvement is more compatible with the continuity of identity of a person than moral deterioration, suggesting that persons are taken to be essentially morally good. This asymmetry is often referred to as the “Phineas (...)
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  4. Entrevista a Luis de Lille, vocalista latino del opening “La fantástica aventura” de Dragon Ball. “Que la gente pueda sentir lo que se canta, que puedas ‘contagiar’ ese sentimiento”.Jesús Miguel Delgado Del Aguila - 2023 - Aularia. Revista Digital de Educomunicación 12:63-68.
    Luis de Lille es conocido por ser uno de los primeros vocalistas e intérpretes de un anime japonés de éxito mundial llamado Dragon Ball. En la entrevista que le realicé, le planteé unas preguntas que estaban relacionadas con el universo musical de esta serie animada. Sus respuestas consolidan un panorama sobre los requisitos indispensables para obtener un buen resultado en las adaptaciones y las interpretaciones que se hacen de las canciones que están en otros idiomas distintos del español. La experiencia (...)
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  5. L’orecchio e lo sguardo. Introduzione a una fenomenologia dell’immagine sonora.Elia Gonnella - 2022 - Roma RM, Italia: Aracne.
    I suoni e le immagini sembrano appartenere a due forme dell’esperienza profondamente distinte. Due registri sensoriali antitetici cui corrispondono due fenomeni accostabili, ma mai completamente unibili. Eppure si ricorre spesso all’espressione immagine sonora, che cosa si intende precisamente? Esiste un punto in cui i suoni e le immagini si appartengono reciprocamente? Può un’immagine risuonare e un suono essere anche un’immagine? Il testo cerca di rispondere a questi quesiti scavando e intarsiando una concettualizzazione dell’immagine sonora attraverso un dialogo con la semiotica, (...)
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  6. Why can’t I change Bruckner’s Eighth Symphony?David Friedell - 2020 - Philosophical Studies 177 (3):805-824.
    Musical works change. Bruckner revised his Eighth Symphony. Ella Fitzgerald and many other artists have made it acceptable to sing the jazz standard “All the Things You Are” without its original verse. If we accept that musical works genuinely change in these ways, a puzzle arises: why can’t I change Bruckner’s Eighth Symphony? More generally, why are some individuals in a privileged position when it comes to changing musical works and other artifacts, such as novels, films, and games? I give (...)
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  7. Lorenzi, G., Book review “Musical Ontology: A Guide for the Perplexed” by Lisa Giombini, Milano: Mimesis International, 2017, pp. 374. [REVIEW]Giulia Lorenzi - 2020 - Argumenta 11.
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  8. Are Musical Works Sound Structures?Vitor Guerreiro - 2019 - Filozofija I Društvo 30 (1):36-53.
    This paper is about the dilemma raised against musical ontology by Roger Scruton, in his The Aesthetics of Music: either musical ontology is about certain mind-independent “things” and so music is left out of the picture, or it is about an “intentional object” and so its puzzles are susceptible of an arbitrary answer. I argue the dilemma is merely apparent and deny that musical works can be identified with sound structures, whether or not conceived as abstract entities. The general idea (...)
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  9. Musical “Covers” and the Culture Industry.Babette Babich - 2018 - Research in Phenomenology 48 (3):385-407.
    This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of mass consumer but also the ghostly time-space of music in the broadcast world. A brief allusion to Rilke complements (...)
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  10. The Ontology of Musical Works and the Role of Intuitions: An Experimental Study.Christopher Bartel - 2018 - European Journal of Philosophy 26 (1):348-367.
    Philosophers of music often appeal to intuition to defend ontological theories of musical works. This practice is worrisome as it is rather unclear just how widely shared are the intuitions that philosophers appeal to. In this paper, I will first offer a brief overview of the debate over the ontology of musical works. I will argue that this debate is driven by a conflict between two seemingly plausible intuitions—the repeatability intuition and the creatability intuition—both of which may be defended on (...)
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  11. Beyond Musical Metaphysics: A Philosophical Account of Listening to Music.Paskalina Bourbon - 2018 - Revista Portuguesa de Filosofia 74 (4):1377-1398.
    Music’s original philosophical problem is ontological: what is it? In this paper, I argue that music has a better philosophical beginning; philosophical accounts of music should begin as philosophical accounts of listening to music. What distinguishes listening to music from hearing sound? My aim is to give a philosophical account of music by means of a description of a particular kind of interactive relationship we sometimes have to sound. Music, I shall argue, is not distinguished from sound because it has (...)
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  12. Whether the Work Type Debates in Higher-Level Musical Ontology Are Useful Just for Philosophy Itself?Haoren Xu - 2018 - Applied Ethics Review 64:131-146.
    Recently, musical ontologists cared about what types of objects are artworks in a specific music form. Andrew Kania believed that those work type debates initiated a sort of Copernican revolution in his experience of music, but Lee B. Brown and James O. Young both claimed that Kania was wrong: those are useless for our appreciative practice, and at best are useful just for philosophy itself. In this article, I respond to their criticism and defend the practical value of the debates. (...)
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  13. Musical Perdurantism and the Problem of Intermittent Existence.Alexey Aliyev - 2017 - Grazer Philosophische Studien 94 (1-2):83-100.
    Recently, a number of philosophers have defended a novel, materialist view on the nature of musical works—musical perdurantism. According to this view, musical works are a peculiar kind of concreta, namely perduring mereological sums of performances and/or other concrete entities. One problem facing musical perdurantism stems from the thought that if this view is correct, then virtually no musical work can exist in a continuous, non-intermittent fashion. The aim of this paper is to expound this problem and show that it (...)
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  14. Rock as a Three-Value Tradition.Christopher Bartel - 2017 - Journal of Aesthetics and Art Criticism 75 (2):143-154.
    Gracyk, Kania, and Davies all agree that the rock tradition is distinctive for the central place that it gives to the appreciation of recorded tracks. But we should not be led by those arguments to conclude that the central position of the recorded track makes such appreciation the exclusive interest in rock. I argue that both songwriting and live performance are also central to the rock tradition by showing that the practice of recording tracks admits of a diversity of goals (...)
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  15. Music and Vague Existence.David Friedell - 2017 - Res Philosophica 94 (4):437-449.
    I explain a tension between musical creationism (the view that musical works are abstract artifacts) and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an instance (...)
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  16. The Sound of Ontology: Music as a Model for Metaphysics.Kenneth LaFave - 2017 - Lanham: Lexington Books.
    This book provides a unique approach to some of philosophy’s fundamental issues. It points to music as a model for exploring such questions as, “What does it mean to value?” This is not a musical study, per se, but a philosophical text that uses music as a vehicle for investigating these and other metaphysical, axiological, and aesthetic matters.
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  17. On the Divide: Analytic and Continental Philosophy of Music.Tiger Roholt - 2017 - Journal of Aesthetics and Art Criticism 75 (1):49-58.
    On offer here is a tradition-neutral way of understanding the distinction between analytic and continental philosophy of music. The distinction is drawn in terms of methodology, rather than content, by identifying contrasting methodological tendencies of each tradition—initial maneuvers that frame an investigation, which are related to one another insofar as they involve, or do not involve, two kinds of methodological detachment. These maneuvers are extracted through a consideration of contrasting pairs of examples. The pairs consist of an analytic and a (...)
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  18. Digital Tradition: Arrangement and Labor in IstanbuL’s Recording Studio Culture.Eliot Bates - 2016 - New York, NY, USA: Oxford University Press.
    Istanbul is home to a multimillion dollar transnational music industry, which every year produces thousands of digital music recordings, including widely distributed film and television show soundtracks. Today, this centralized industry is responding to a growing global demand for Turkish, Kurdish, and other Anatolian ethnic language productions, and every year, many of its top-selling records incorporate elaborately orchestrated arrangements of rural folksongs. What accounts for the continuing demand for traditional music in local and diasporic markets? How is tradition produced in (...)
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  19. Unperformable Works and the Ontology of Music.Wesley D. Cray - 2016 - British Journal of Aesthetics 56 (1):67-81.
    Some artworks—works of music, theatre, dance, and the like—are works for performance. Some works for performance are, I contend, unperformable. Some such works are unperformable by beings like us; others are unperformable given our laws of nature; still others are unperformable given considerations of basic logic. I offer examples of works for performance—focusing, in particular, on works of music—that would fit into each of these categories, and go on to defend the claim that such ‘works’ really are genuine works, musical (...)
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  20. Gadamer on the Event of Art, the Other, and a Gesture Toward a Gadamerian Approach to Free Jazz".Cynthia R. Nielsen - 2016 - Journal of Applied Hermeneutics (1).
    Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key aspects of his (...)
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  21. Eseguire l’inatteso. Ontologia della musica e improvvisazione. [REVIEW]Matteo Ravasio - 2016 - Aisthema 3 (1):119-125.
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  22. The Metaphysics of Mash‐Ups.Christopher Bartel - 2015 - Journal of Aesthetics and Art Criticism 73 (3):297-308.
    Accounts of the ontology of musical works seek to uncover what metaphysically speaking a musical work is and how we should identify instances of musical works. In this article, I examine the curious case of the mash-up and seek to address two questions: are mash-ups musical works in their own right and what is the relationship between the mash-up and its source materials? As mash-ups are part of the broader tradition of rock, I situate this discussion within an ontology of (...)
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  23. Music as atmosphere. Lines of becoming in congregational worship.Friedlind Riedel - 2015 - Lebenswelt. Aesthetics and Philosophy of Experience 6:80-111.
    In this paper I offer critical attention to the notion of atmosphere in relation to music. By exploring the concept through the case study of the Closed Brethren worship services, I argue that atmosphere may provide analytical tools to explore the ineffable in ecclesial practices. Music, just as atmosphere, commonly occupies a realm of ineffability and undermines notions such as inside and outside, subject and object. For this reason I present music as a means of knowing the atmosphere. The first (...)
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  24. Musical Ontology: Critical, Not Metaphysical.Jonathan A. Neufeld - 2014 - Contemporary Aesthetics 12.
    The ontology of musical works often sets the boundaries within which evaluation of musical works and performances takes place. Questions of ontology are therefore often taken to be prior to and apart from the evaluative questions considered by either performers as they present works to audiences or an audience’s critical reflection on a performance. In this paper I argue that, while the ontology of musical works may well set the boundaries of legitimate evaluation, ontological questions should not be considered as (...)
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  25. The Varieties of Musical Experience.Brandon Polite - 2014 - Pragmatism Today 5 (2):93-100.
    Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the (...)
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  26. The Poverty of Musical Ontology.James O. Young - 2014 - Journal of Music and Meaning 13:1-19.
    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 (...)
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  27. Still My Guitar Gently Weeps. Questions for an Ockhamized Metaphysics of the Event Sources of Sound.Luca Gasparri - 2013 - Kriterion - Journal of Philosophy 27 (1):41-52.
    Casati, Di Bona and Dokic have recently argued that sounds are identical to their event sources. In this paper, I review the arguments they have offered in support of this view, show that their claims fail to defend it in a completely persuasive and conclusive fashion, and present some new questions for their thesis.
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  28. Ontologia da Arte.António Lopes - 2013 - Compêndio Em Linha de Problemas de Filosofia Analítica.
    Este artigo aborda as principais teorias sobre a natureza metafísica das obras de arte, cobrindo as propostas eliminativistas, monistas e pluralistas. Entre estas últimas, é dado destaque ao trabalho sobre a ontologia das artes performativas, e em particular, da música. Termina-se com uma referência à recente viragem da discussão para o campo da meta-ontologia e a polémica sobre a plausibilidade do revisionismo ontológico no caso de artefactos ou objectos sociais.
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  29. Art & Abstract Objects.Christy Mag Uidhir (ed.) - 2013 - Oxford University Press.
    Art and Abstract Objects presents a lively philosophical exchange between the philosophy of art and the core areas of philosophy. The standard way of thinking about non-repeatable (single-instance) artworks such as paintings, drawings, and non-cast sculpture is that they are concrete (i.e., material, causally efficacious, located in space and time). Da Vinci's Mona Lisa is currently located in Paris. Richard Serra's Tilted Arc is 73 tonnes of solid steel. Johannes Vermeer's The Concert was stolen in 1990 and remains missing. Michaelangelo's (...)
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  30. Art & Art-Attempts.Christy Mag Uidhir - 2013 - Oxford: Oxford University Press.
    Although few philosophers agree about what it is for something to be art, most, if not all, agree on one thing: art must be in some sense intention dependent. Art and Art-Attempts is about what follows from taking intention dependence seriously as a substantive necessary condition for something's being art. Christy Mag Uidhir argues that from the assumption that art must be the product of intentional action, along with basic action-theoretic account of attempts (goal-oriented intention-directed activity), follows a host of (...)
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  31. Art, Metaphysics, & the Paradox of Standards.Christy Mag Uidhir - 2013 - In Art & Abstract Objects. Oxford University Press.
    I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...)
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  32. Judging Covers.Cristyn Magnus, P. D. Magnus & Christy Mag Uidhir - 2013 - Journal of Aesthetics and Art Criticism 71 (4):361-370.
    Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, (...)
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  33. The Social Life of Musical Instruments.Eliot Bates - 2012 - Ethnomusicology 56 (3):363-395.
    While ethnomusicologists often write about musical instruments and engage with social theories, these two predilections are typically distinct, and rarely are instruments theorized let alone considered in social terms. Drawing on recent work in Science and Technology Studies, I argue for a study of the social where musical objects (including instruments) and people are actors within patterned heterogeneous networks. I begin with literary examples of instruments framed as having agency, then move to the treatment of instrument-agency within organology. As an (...)
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  34. 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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  35. Paganini Does Not Repeat. Musical Improvisation and the Type/Token Ontology.Alessandro Bertinetto - 2012 - Teorema: International Journal of Philosophy 31 (3):105-126.
    This paper explores the ontology of musical improvisation (MI). MI, as process in which creative and performing activities are one and the same generative occurrence, is contrasted with the most widespread conceptual resource used in inquiries about music ontology of the Western tradition: the type/token duality (TtD). TtD, which is used for explaining the relationship between musical works (MWs) and performances, does not fit for MI. Nonetheless MI can be ontologically related to MWs. A MW can ensue from MI and (...)
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  36. Further Doubts about Higher-Order Ontology: Reply to Andrew Kania.L. B. Brown - 2012 - British Journal of Aesthetics 52 (1):103-106.
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  37. Thinking Clearly About Music.Vitor Guerreiro - 2012 - Teorema: International Journal of Philosophy 31 (3):25-48.
    In this article I argue against the arbitrariness of the concept of music and for an essentialist and naturalist framework, according to which music is a cross-cultural human phenomenon, defined by relational properties held together by uniform features of human nature. Building on Dickie’s classification of theories of art in natural kind theories and cultural-kind theories, I argue for an enhanced natural-kind theory (which explains the institutional element), and use some developments in social ontology to show the inadequacy of an (...)
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  38. Must Ontological Pragmatism be Self-Defeating?Guy Rohrbaugh - 2012 - In Christy Mag Uidhir (ed.), Art and Abstract Objects. Oxford University Press. pp. 29-48.
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  39. Musical materialism and the inheritance problem.Chris Tillman & J. Spencer - 2012 - Analysis 72 (2):252-259.
    Some hold that musical works are fusions of, or coincide with, their performances. But if performances contain wrong notes, won't works inherit that property? We say ‘no’.
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  40. Music Without Metaphysics?Christopher Bartel - 2011 - British Journal of Aesthetics 51 (4):383-398.
    In a recent pair of articles, Aaron Ridley and Andrew Kania have debated the merits of the study of musical ontology. Ridley contends that the study of musical ontology is orthogonal to more pressing concerns over the value of music. Kania rejects this, arguing that a theory of the value of music must begin with an understanding of the ontology of music. In this essay, I will argue that, despite Kania's rejections, Ridley's criticism exposes a false methodological assumption that needs (...)
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  41. Are There No Things That are Scientific Theories?Steven French & Peter Vickers - 2011 - British Journal for the Philosophy of Science 62 (4):771-804.
    The ontological status of theories themselves has recently re-emerged as a live topic in the philosophy of science. We consider whether a recent approach within the philosophy of art can shed some light on this issue. For many years philosophers of aesthetics have debated a paradox in the (meta)ontology of musical works (e.g. Levinson [1980]). Taken individually, there are good reasons to accept each of the following three propositions: (i) musical works are created; (ii) musical works are abstract objects; (iii) (...)
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  42. The Routledge Companion to Philosophy and Music.Theodore Gracyk & Andrew Kania (eds.) - 2011 - New York: 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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  43. Music, Art, and Metaphysics.Jerrold Levinson - 2011 - Oxford: Oxford University Press.
    This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.
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  44. Confessions of an unrepentant timbral sonicist.Julian Dodd - 2010 - British Journal of Aesthetics 50 (1):33-52.
    Simplifying somewhat, sonicists believe that works of music are individuated purely in terms of how they sound. For them, exact sound-alikes are identical. Stephen Davies, in his ‘Musical Works and Orchestral Colour’ ( BJA 48 (2008), pp. 363–375) took me to task for defending a version of sonicism. In this paper I seek to explain why Davies's objections miss their mark. In the course of the discussion, I make some methodological remarks about the ontology of music.
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  45. 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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  46. “What Has Coltrane to Do With Mozart: The Dynamism and Built-in Flexibility of Music”.Cynthia R. Nielsen - 2009 - Expositions 3:57-71.
    Although contemporary Western culture and criticism has usually valued composition over improvisation and placed the authority of a musical work with the written text rather than the performer, this essay posits these divisions as too facile to articulate the complex dynamics of making music in any genre or form. Rather it insists that music should be understood as pieces that are created with specific intentions by composers but which possess possibilities of interpretation that can only be brought out through performance.
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  47. Radiohead and Some Questions about Music.Edward Slowik - 2009 - In George Reisch & B. W. Forbes (eds.), Radiohead and Philosophy. Chicago, IL: Open Court: pp. 41-52.
    This essay examines the music of Radiohead as a means of introducing various elementary concepts and theories in the philosophy of music.
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  48. 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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  49. Modality, Individuation, and the Ontology of Art.Carl Matheson & Ben Caplan - 2008 - Canadian Journal of Philosophy 38 (4):491-517.
    In 1988, Michael Nyman composed the score for Peter Greenaway’s film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman’s compositional activity as a “generative performance” and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix).1 According to one view, Nyman’s score for Drowning by the Numbers—the musical work—is (...)
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  50. A Derridean Approach To Musical Identity.Laurel Ralston - 2008 - Postgraduate Journal of Aesthetics 5 (2):32-40.
    The issue of musical identity—of what defines works of music, gives each its unique character and distinguishes them from one another—is one of the central issues in the philosophy of music. Too often in the philosophical literature it is approached as a purely theoretical question, one that can be answered adequately through careful intellectual consideration of scores and performances. The typical philosophical approach to the performance of Western art music, particularly that composed between the Baroque and Romantic eras, is to (...)
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