Defending musical perdurantism

British Journal of Aesthetics 46 (1):59-69 (2006)
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Abstract

If musical works are abstract objects, which cannot enter into causal relations, then how can we refer to musical works or know anything about them? Worse, how can any of our musical experiences be experiences of musical works? It would be nice to be able to sidestep these questions altogether. One way to do that would be to take musical works to be concrete objects. In this paper, we defend a theory according to which musical works are concrete objects. In particular, the theory that we defend takes musical works to be fusions of performances. We defend this view from a series of objections, the first two of which are raised by Julian Dodd in a recent paper and the last of which is suggested by some comments of his in an earlier paper.

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Carl Alan Matheson
University of Manitoba

Citations of this work

Why can’t I change Bruckner’s Eighth Symphony?David Friedell - 2020 - Philosophical Studies 177 (3):805-824.
Type Realism Reconsidered.Nurbay Irmak - forthcoming - Journal of Aesthetics and Art Criticism:1-11.
Musical Works as Structural Universals.A. R. J. Fisher - 2023 - Erkenntnis 88 (3):1245-67.
The Vagueness Argument Against Abstract Artifacts.Daniel Z. Korman - 2014 - Philosophical Studies 167 (1):57-71.
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References found in this work

Counterpart theory and quantified modal logic.David Lewis - 1968 - Journal of Philosophy 65 (5):113-126.
Survival and identity.David Lewis - 1976 - In Amelie Oksenberg Rorty (ed.), The Identities of Persons. University of California Press. pp. 17-40.
Counterparts of persons and their bodies.David Lewis - 1971 - Journal of Philosophy 68 (7):203-211.
Four-Dimensional Objects.Peter Van Inwagen - 1990 - Noûs 24 (2):245--255.
Can a Musical Work Be Created?Ben Caplan & Carl Matheson - 2004 - British Journal of Aesthetics 44 (2):113-134.

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