Ontology of Music

In this paper, I develop a novel account of musical works according which they are situated heir lines, consisting of actual and possible work-versions that are situated in specific musical-historical contexts. And I argue that this account offers a better explanation of three core phonenomena - musical multiplicity, musical flexibility, and musical audibility - than its competitors. Finally, I introduce the broader category of musical lineages - sequences of work-versions each of which has evolved in certain ways from its predecessors (...) - and argue that musical works can be viewed as lineages that are initiated by the requisite sorts of compositional intentions and whose constituent work-versions must satisfy standards of similarity from their original contexts of composition. (shrink)

This chapter focuses on the methodological challenges and practical implications of the experimental ontology of music. It offers an overview of the existing research, primarily focusing on how people judge whether two musical performances are of one and the same or two distinct musical works, followed by a discussion of the current methodological debates in this field and, finally, an exploration of its potential legal implications.

Beat perception has received very little attention from either philosophers of mind or philosophers of music. This neglect is unfortunate, for the topic is rich with philosophical interest. This article addresses two questions. The first concerns the nature of our experience of musical beat. Here, we argue that experiences of beat are forms of auditory perception. The second question concerns the nature of musical beat itself: what are beats? We defend a form of anthropocentric realism about beats: beats are mind‐independent (...) properties of sound sequences whose nature can be understood only in relation to our perceptual capacities. (shrink)

This article is devoted to examining the ontological foundations of computer-generated music scores. Specifically, we focus on the categorial question, i.e., the inquiry that aims to determine the kind of ontological category that musical works belong to. This task involves considerations concerning the existence and persistence conditions for musical works, and it has consequences for the determination of what it is to compose a musical work. Our contention is that not all the possible answers to the categorial question in the (...) ontology of music are equally compatible with the hypothesis that creative music systems compose musical works. The thesis defended here is that musical Platonism is the proposal that best accommodates this hypothesis. We claim that musical Platonism is the answer to the categorial question that offers the most straightforward explanation for the possibility of considering creative music systems as genuinely composing musical works. Moreover, we uphold that the notion of creative-evaluative discovery as the characterization of what it is to compose a musical work entailed by Platonism is the simplest explanation of the process developed by a computer in producing musical works. For this purpose, we will take as empirical data the features of the Iamus computer, a system that produces musical works autonomously using evolutionary algorithms and following an evo-devo strategy. The works generated by this computer have been recorded by the London Symphony Orchestra and other renowned international soloists, and its impact has been notable in the literature (Ball, 2012; Coghlan, 2012; Berger, 2013). (shrink)

This essay examines Nietzsche’s musical ontology and situates it within the naturalist and anti-metaphysical framework evident throughout his corpus. Nietzsche often associated this position with the figure of Dionysus, which plays a leading role in The Birth of Tragedy, his most sustained consideration of music and musical ontology. The essay returns to The Birth of Tragedy in an effort to recover Nietzsche’s musical ontology and its relationship with ontology more generally. Heeding Nietzsche’s own remarks, I read this text in light (...) of his mature philosophy. My analysis draws on the work of the late twentieth-century Nietzschean, Gilles Deleuze, whose distinction between “the virtual” and “the actual” enables us to see what is really at issue in The Birth of Tragedy. (shrink)

How can sound and space be connected not only in a metaphorical sense? Over the last decades, philosophy of sound, aesthetics, and musicology have shown increasing interest in space inquiry. However, the way we interact with each other, communicate in space, and gather information about/in space is rooted in sound in a completely different way from those of musical metaphors. In this paper, I present an analysis of the role sound plays in the constitution of both space and relations of (...) intimacy within it. Starting from the wealthy tips that E. T. Hall gives to us in order to delineate a new understanding of proxemics that includes sound experience, I argue that sound, silence, and noise are essential to determine the intimate space and the way we interact with it. Moving from a classical proxemics perspective, the analysis will focus on the intimate relation between sound, space, and body, dialoguing with phenomenology, anthropology, semiotics, and philosophy of space. (shrink)

Psychological and neuroscientific inquiry pointed out the value of attention for auditory perception. Recent studies have identified that the problem is not one of finding a location for a given task, but of identifying how and what one wants to do with a given stimulus. This radicalises the problem of attention in perception. In this paper I try bring experimental research into dialogue with social role of emotions and attention in sonorous and musical field from the point of view of (...) anthropology and ethnomusicology. (shrink)

This essay aims to inquiry into the main factors responsible for the growth of modern acoustics, which basically have to be traced back to the empirical turn occurred in science of music around 1600. Helmholtz’s theory of sound will be regarded as most scientifically significant archetype of modern acoustics. In Section 1 a general historical overview of the science of music will be given and its importance for the development of modern science and mathematics considered. In Section 2 the internal (...) historical roots of modern acoustics, thus of Helmholtz’s theory of sound will be analyzed. Finally, in Section 3 positive and negative elements of Helmholtz’s acoustic will be discussed and its external historical roots as well as its actual epistemological relevance examined. (shrink)

Guy Rohrbaugh and Allan Hazlett have provided two arguments against the thesis that musical works are types. In short, they assume that, according to our modal talk and intuitions, musical works are modally flexible entities; since types are modally inflexible entities, musical works are not types. I argue that Rohrbaugh’s and Hazlett’s arguments fail and that the type/token theorist can preserve the truth of our modal claims and intuitions even if types are modally inflexible entities. First, I consider two alternatives (...) for the type/token theorist proposed in recent literature about the topic: the created types’ solution and the created abstract objects’ solution. I argue that none of them is attractive for the type/token theorist because they do not preserve the theoretical advantages of type/token theories to explain musical works’ repeatable nature. Then, I focus on the arguments’ common premise that musical works are modally flexible entities. A deeper analysis of musical practice will show that this premise is not true: our modal claims do not imply that musical works could have had different intrinsic but, instead, extrinsic properties. Finally, I show how the nested types theory may offer a satisfactory explanation of this fact and how it captures the truth of our modal talk about musical works. (shrink)

Cover songs are a familiar feature of contemporary popular music. Musicians describe their own performances as covers, and audiences use the category to organize their listening and appreciation. However, until now philosophers have not had much to say about them. This book explores how to think about covers, appreciating covers, and the metaphysics of covers and songs. Along the way, it explores a range of issues raised by covers, from the question of what precisely constitutes a cover, to the history (...) and taxonomy of the category, the various relationships that hold between songs, performances, and tracks, and the appreciation and evaluation of covers. (shrink)

In this paper I explore the production aesthetics that define the sound of most arranged traditional music albums produced in the early 2000s in Istanbul,Turkey. I will focus on two primary aesthetic characteristics, the achievement of which consume much of the labor put into tracking and mix- ing: parlak (“shine”) and büyük ses (“big sound”). Parlak, at its most basic, consists of a pronounced high frequency boost and a pattern of harmonic distortion characteristics,and is often described by studio musicians and (...) engineers in Turkey as an exaggeration of the perceived brightness of the majority of Anatolian folk instruments. Büyük ses, which in basic terms connotes a high density of heterogeneous musical parts,in contrast to parlak has no relation to any known longstanding Anatolian musical performing traditions or timbral aesthetics, and is a recent development in Istanbul-produced record- ings.Parlak and büyük ses became widespread after 2000,accompanying the paradigm shift of Istanbul studios from analog to digital workflows. Parlak and büyük ses are of interest for reasons that transcend music-aesthetics. The successful creation of mixes with parlak and büyük ses necessitates a palpable change in the performance practice of folk music instruments, as well a fundamental reconfiguration of the social structure of music-making, which in turn involves new musical competences and conceptualizations of musical practice. Parlak and büyük ses are not just a result of using a particular set of technologies (i.e., microphones or effects plugins), but instead arise from arduous and detailed arrangement and nonlinear editing work that is made feasible through DAW (digital audio workstation) systems. Although parlak and büyük ses index the transformation of traditional music aesthetics in the context of digital audio recording production, and their production is at the forefront of concerns of the professionals working in the recording studio environment, the terms are never mentioned in published music criticism, and only usually uttered in the studio context at the inception of a project and at the completion of a mix. Considerable preemptive work is done by studio musicians, engineers, and arrangers to avoid the need for the terms to be mentioned at all. (shrink)

This book introduces the thought of Giambattista Vico into the discussion about natural law. For many critics, natural law is not natural but a façade behind which lurks the supernatural - that is, revealed religion. While current notions of natural law are based on either Aristotelian/Thomistic principles or on Enlightenment rationalism, the book shows how Vico was the only natural law thinker to draw on the Roman legal tradition, rather than on Greek or Enlightenment philosophy. Specifically, the book addresses how (...) Vico, drawing his inspiration from Roman history, incorporated both rhetoric and religion into a dynamic concept of natural law grounded in what he called the sensus communis: the entire repertoire of values, images, institutions, and even prejudices that a community takes for granted. Vico denied that natural law could ever furnish a definitive answer to moral problems in the social/public sphere. Rather he maintained that such problems had to be debated in the wider arena of the sensus communis. For Vico, as this book argues, natural law principles emerged from these debates; they did not resolve them. (shrink)

Rhetorical analysis of texts exposes plausible ‘truths’ and presumptions implied by the writer’s presentation. In this volume, Leslie Gardner analyses the master psychologist Jung, who claimed to be expert at uncovering personal, psychological truths. In his theoretical writings, his rhetoric reveals philosophical ramifications which bear strong similarities to those of the rhetorician of the 18th century, Italian philosopher Giambattista Vico. This book is driven by an interest in arguing that it is possible to read Jung’s works easily enough when you (...) have a set of precepts to go by. The paradox of scientific discovery being set out in Jung’s grotesque and arcane imagery begins to seem a startling and legitimate psychology for the 21st century. It is time Jungian studies took on this most appropriate examination of analytical psychology. Bringing Vico to bear directly on Jung’s thought has only been cursorily attempted before although much alluded to. We find indeed that some of Jung’s ideas derive directly from rhetorical theory, and this volume proposes to highlight Jung’s innovations, and bring him into forefront of contemporary psychological thought. Rhetorical Investigations will be of interest to analysts and academics, and also to those studying philosophy and psychology. (shrink)

Giambattista Vico is often regarded as the beleaguered, neglected genius of pre-Enlightenment Naples. His work-though known to Herder, Coleridge, Matthew Arnold, and Michelet-widely and deeply appreciated only during the twentieth century. Although Vico may be best known for the use James Joyce made of his theories in Finnegans Wake, Croce's insightful analysis of Vico's ideas played a large role in alerting readers to his unique voice. Croce's volume preceded Joyce's creation of "Mr. John Baptister Vickar" by a quarter century. During (...) the last 25 years Vico's ideas about history, language, anti-Cartesian epistemology, and rhetoric have begun to receive the recognition their admirers have long claimed they deserve. Increasing numbers of publications appear annually which bear the stamp of Vico's thinking. Even if he is not yet so renowned as some of his contemporaries, such as Locke, Voltaire, or Montesquieu, there are good reasons to believe that in the future he will be equally honored as a cultural theorist. As a theorist of historical process and its language, there is no more innovative voice than his until the twentieth century-which explains in part why such figures as Joyce and R.G. Collingwood freely drew on Vico's work, particularly his New Science, while creating their own. If Vico was Naples' most brilliant, if uncelebrated, citizen prior to the Enlightenment taking hold in Southern Italy, then Croce is surely the city's most important thinker of modern times, and the single indispensable Italian philosopher since Vico's death. When a genius of Croce's interpretative prowess, evaluates the work of another, it is inevitable that an explosive mixture will result. A great virtue of this book is its fusion of Croce's unique brand of idealism and aesthetic philosophy with Vico's epistemological, ethical, and historical theories. If Vico's theory of cyclical changes in history, the corsi e ricorsi, remains fruitful, it might be argued that Croce's evaluation of his countryman' ideas represented the next turn of the philosophical wheel toward enlightenment. (shrink)

In response to Stephen Davis’s criticism of our previous essay, we revisit and defend our arguments that the Resurrection hypothesis is logically incompatible with the Standard Model of particle physics—and thus is maximally implausible—and that it cannot explain the sensory experiences of the Risen Jesus attributed to various witnesses in the New Testament—and thus has low explanatory power. We also review Davis’s reply, noting that he evades our arguments, misstates their conclusions, and distracts the reader with irrelevancies regarding, e.g., what (...) natural laws are, what a miracle is, and how “naturalism” and “supernaturalism” differ as worldviews. Contrary to what Davis claims (even in his abstract), we do not argue that “if the Standard Model of particle physics is true, then the resurrection of Jesus did not occur and physical things can only causally interact with other physical things.” Davis distorts our claims and criticizes straw men of his own creation. (shrink)

L'articolo analizza i fondamenti delle indagini percettive nell'impostazione fenomenologica. In particolare l'ambito uditivo si struttura in modalità, ricezioni ed analisi che, attraverso la critica di vari autori (Husserl, Heidegger, Dufrenne, Ihde, Schaeffer), si mostrano articolate in due direzioni (soggetto-oggetto e oggetto-soggetto). L' analisi delle componenti costitutive porta a riconoscere come ricorrente tra autori differenti quell'impostazione del problema la quale asserisce che, se da un lato non può prescindere dall'attività percettiva, come attività propria del soggetto, dall'altro questa stessa cerca una legittimità (...) emergente dalle cose stesse. La costituzione, una volta riconosciuto il darsi dell'oggetto sonoro, risiede, tuttavia, nelle attività percettive che delineano così il differenziarsi degli ascolti. (shrink)

At the heart of Anders Pettersson’s 2017 book, The Idea of a Text and the Nature of Textual Meaning, is his proposed “cluster” definition of a textual work. On this view, a text is a cluster of three kinds of objects: all the physical exemplars of the work, the work’s meaning, and the complex signs that convey that meaning. Pettersson contrasts this with the “ordinary conception” of a text, wherein a text is a unitary object made of the signs and (...) meaning, and each exemplar is an instance of the supervening textual work. The cluster definition is preferable because it is able to overcome contradictions plaguing the ordinary conception and its competitors. This cluster conception of a textual work is both original and deserving of more critical attention. Pettersson not only motivates the view well through his consideration of key examples, but deftly handles the obvious objections. Although the cluster conception is revisionary of our ordinary conception, he makes a strong case. However, I do not focus here on the heart of Pettersson’s work but on something akin to its spleen; Pettersson’s criticism of David Davies’ “Pragmatic Constraint” (PC) on the ontology of artworks. (shrink)

Denne artikel hedder ”Musikalske Omgangsformer”. Men den fortæller ikke så meget om, hvorledes musikalske omgangsformer tager sig ud, som den fører til et punkt, hvor musikalske omgangsformer bliver sigtbare og påtrængende. Snarere end at præsentere en teori om musikalske omgangsformer anviser den et sted, hvor en teoridannelse er påkrævet. Udgangspunktet bliver en påvisning af, hvorledes den fænomenologiske tilgang til det musikalske fænomen svigter ved tematisk og dog stiltiende at hævde musikstykket, satsen, som sin genstand. Utilstrækkeligheden påpeges inden for den fænomenologiske (...) analyses eget univers. Som sådan vil den ved artiklens afslutning yderligere omfatte formuleringen af den påpegede utilstrækkelighed. Fra dette – negative – udgangspunkt tages skridtet ind i et rum, der skal indbefatte de påviste løse ender og samtidig give plads for, at vi med positivt udgangspunkt i en praxis-orienteret filosofi kan komme til at binde de nødvendige knuder. (shrink)

Using Hiromi’s ‘Voice’ to understand ‘physics.’ (The underlying relationship between mind and music.) (The relationship between mind and mathematics.) The relationship between the arithmetic numbers 'two' and 'three.' The relationship between light (an infinite line) and sound (an infinite circle) (where it is impossible to have one without the other).

There is growing debate about what is the correct methodology for research in the ontology of artworks. In the first part of this essay, I introduce my view: I argue that semantic descriptivism is a semantic approach that has an impact on meta-ontological views and can be linked with a hermeneutic fictionalist proposal on the meta-ontology of artworks such as works of music. In the second part, I offer a synthetic presentation of the four main positive meta-ontological views that have (...) been defended in philosophical literature about artworks and of some criticisms that can be lodged against them: Amie Thomasson’s global descriptivism, Andrew Kania’s local descriptivism, Julian Dodd’s folk-theoretic modesty, and David Davies’ rational accountability view. In the conclusion, I show the advantages of my view. (shrink)

Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...) to be made in the first-order debate, second-order progress on the metaontology of art needs to come first. (shrink)

Examines Richard Swinburne's joint case for an orthodox Christian understanding of incarnation and resurrection.

We respond to Stephen T. Davis’ criticism of our earlier essay, “Assessing the Resurrection Hypothesis.” We argue that the Standard Model of physics is relevant and decisive in establishing the implausibility and low explanatory power of the Resurrection hypothesis. We also argue that the laws of physics have entailments regarding God and the supernatural and, against Alvin Plantinga, that these same laws lack the proviso “no agent supernaturally interferes.” Finally, we offer Bayesian arguments for the Legend hypothesis and against the (...) Resurrection hypothesis. (shrink)

I analyze David Hume’s "Of Miracles". I vindicate Hume’s argument against two charges: that it (1) defines miracles out of existence; (2) appeals to a suspect principle of balancing probabilities. He argues that miracles are, in a certain sense, maximally improbable. To understand this sense, we must turn to his notion of probability as ’strength of analogy’: miracles are incredible, according to him, because they bear no analogy to anything in our past experience. This reveals as anachronistic various recent Bayesian (...) reconstructions of his argument. But it exposes him to other charges, with which I conclude. (shrink)

C-Inductive arguments are arguments that increase the probability of a hypothesis. This can be contrasted with what is called a P-Inductive argument. A P-inductive argument is an argument that shows the overall probability of a hypothesis to be more probable than not. In this paper, we put forth a C-inductive argument for the truth of the Catholic hypothesis (CH). Roughly, we take CH to be the hypothesis that the core creedal beliefs found within the Catholic Tradition are true. Specifically, we (...) argue that we would expect the Miracle of Fátima on CH, but, we wouldn’t expect it as much on ~CH. In order to establish this thesis, we first discuss the basics of confirmation theory. Second, we give the historical context of the Miracle of Fátima. Third, we briefly survey and then reject two possible non-supernatural explanations of the apparent miracle. Doing this will help make plausible that the Miracle of Fátima is actual evidence that a hypothesis needs to predict. Fourth, we give the details as to why we should expect the Miracle of Fátima more on CH than ~CH. Finally, we argue that miracles that occur in Protestant contexts, generally don’t carry the same evidential weight for a Protestant hypothesis as the Miracle of Fátima carries for CH. (shrink)

The hypothesis that God supernaturally raised Jesus from the dead is argued by William Lane Craig to be the best explanation for the empty tomb and postmortem appearances of Jesus because it satisfies seven criteria of adequacy better than rival naturalistic hypotheses. We identify problems with Craig’s criteria-based approach and show, most significantly, that the Resurrection hypothesis fails to fulfill any but the first of his criteria—especially explanatory scope and plausibility.

John Herbinius (1633–1679) was a well-known Lutheran theologian and writer. Living for a long time on the territory of the Polish-Lithuanian Commonwealth, he wrote a description of the religious caves of Kyiv, which was published in 1675 in Jena. Plenty of popular cults of Ruthenian spiritual life of the first half of the seventeenth century are reflected in the book. It is important to underline that Herbinius did not criticize the glorification and imitation of saints. He briefly mentioned their post-mortem (...) waiting role in the place of salvation and omitted the Orthodox prayers to them. The great Orthodox mistake for Herbinius was glorifying human and not Christ’s merits as a cause of sanctity and miracle. This very important theological difference was, however, the only one distinction that Herbinius saw between the Orthodox and Protestant traditions of the veneration of saints. The veneration of relics was not criticized by John Herbinius either. On the contrary, relics of Christ’s followers can and must be worshiped, through them God performs miracles, the Protestant author believed. However, Herbinius did not share the Orthodox idea of miraculous unperishability of the saints’ remains in the Cave Monastery. Those remains, as he wrote, are particularly damaged and particularly preserved because of the existing ventilation system in the caves; the saints’ heads are oozing the oil as a result of absorbing of the special air as well. Trying to provide these arguments, Herbinius aimed to deny the core of the Orthodox belief that Kyiv relics preserved undamageed because of great merits and dignities possessed by the Cave fathers in the eyes of God. Obviously, the very idea of merits, earned by the monks due to their ascetic efforts, could have not been accepted by the Protestant author. It strongly contradicted with his confessional views and was unambiguously treated by him as idolatry. (shrink)

Steve Cowan had criticized my defense of theistic science on four grounds: (1) my critique of compatibilism attacks a straw man; (2) libertarianism cannot meet some of the conditions for responsible action; (3) attributing libertarian agency to God has the unacceptable implication that God can do evil; and (4) we don’t need libertarianism to provide a model of divine actions sufficient to justify the scientific detectability of miracles. I clarify and respond to these points in the order listed and conclude (...) that Cowan’s critique fails. (shrink)

We consider the impact of negative natural theology on the prospects of Christian ramified natural theology with reference to Richard Swinburne’s argument for the Incarnation and Resurrection. We argue that Swinburne’s pivotal claim—that God would not allow deceptive evidence to exist for the Incarnation and Resurrection—is refuted by key evidence from negative natural theology. We argue, further, that Swinburne’s argument omits dominating items of evidence of negative natural theology which seem to critically weaken the probability of the Incarnation and Resurrection. (...) Negative natural theology thus serves as a formidable obstacle to Christian ramified natural theology. (shrink)

According to an argument by Colin Howson, the no-miracles argument is contingent on committing the base-rate fallacy and is therefore bound to fail. We demonstrate that Howson’s argument only applies to one of two versions of the NMA. The other version, which resembles the form in which the argument was initially presented by Putnam and Boyd, remains unaffected by his line of reasoning. We provide a formal reconstruction of that version of the NMA and show that it is valid. Finally, (...) we demonstrate that the use of subjective priors is consistent with the realist implication of the NMA and show that a core worry with respect to the suggested form of the NMA can be dispelled. (shrink)

In Interstitial Soundings, Cynthia R. Nielsen brings music and philosophy into a fruitful and mutually illuminating dialogue. Topics discussed include the following: music's dynamic ontology, performers and improvisers as co-composers, the communal character of music, jazz as hybrid and socially constructed, the sociopolitical import of bebop, Afro-modernism and its strategic deployments, jazz and racialized practices, continuities between Michel Foucault's discussion of self-making and creating one's musical voice, Alasdair MacIntyre on practice, and how one might harmonize MacIntyre's notion of virtue development (...) with Foucauldian resistance strategies. (shrink)

Christy Mag Uidhir’s Art and Art-Attempts begins from two deceptively simple observations: artworks are the product of intentions, and intentions are the kinds of things that can fail to be realized successfully. Drawing on these observations, he argues that most contemporary theories of art must be rejected because they are not substantively intention-dependent: that is, they do not account for the fact that an attempt to make an artwork can fail. From his view that artworks must be the product of (...) art-attempts that are subject to failure, Mag Uidhir derives implications for many domains in the philosophy of art. He argues that artworks cannot be abstract objects, since abstract objects cannot participate in causal relations and thus can’t be the product of art attempts: one can’t coherently intend or attempt to create something that exists eternally. Things that we think of as repeatable artworks, then, can’t be abstract types: instead, Mag Uidhir proposes, every artwork is concrete, but some are tied together by a relation of relevant similarity. In this symposium, Mag Uidhir replies to three critics, David Davies, Sherri Irvin and Keith Lehrer. All three critics examine the relevant similarity relation that Mag Uidhir proposes to account for artworks that we treat as repeatable, while also considering a variety of other issues. (shrink)

In disputes about the ontology of music, musical idealism—that is, the view that musical compositions are ideas—has proven to be rather unpopular. We argue that, once we have a better grip on the ontology of ideas, we can formulate a version of musical idealism that is not only defensible, but plausible and attractive. We conclude that compositions are a particular kind of idea: they are completed ideas for musical manifestation.

This paper is the latest in a debate with Robert Larmer as to whether the occurrence of a miracle would provide evidence for the existence of God or against the existence of God. Whereas Larmer’s view is categorical (miracles occur and are evidence for the existence of God), mine is hypothetical (if the events typically described as miracles were to occur -- although I do not believe they do -- they would be evidence against the existence of God). The reason (...) is that miracles, if they were to occur, would be ontic, epistemic, and moral evils. (shrink)