Interpreting Musical Performances

The Monist 66 (2):202-212 (1983)

Abstract

Interpreting artworks involves “the overtone or implication of an obligation of a moral kind.” Here “moral” might be understood in two different ways. First, such obligation, like moral obligation, involves recognition of and submission to some law outside oneself. The law says “Do not kill” and so I intend my actions to conform with that standard; analogously, a performance presents that work created by the composer. Second, the act of interpretation may itself have moral value. Interpretation brings to life artworks which otherwise could not be as fully appreciated.

Download options

PhilArchive



    Upload a copy of this work     Papers currently archived: 72,743

External links

Setup an account with your affiliations in order to access resources via your University's proxy server

Through your library

Analytics

Added to PP
2011-02-21

Downloads
58 (#200,114)

6 months
1 (#386,989)

Historical graph of downloads
How can I increase my downloads?

References found in this work

No references found.

Add more references

Citations of this work

No citations found.

Add more citations

Similar books and articles

Platonism in Music: A Kind of Defense.Peter Kivy - 1983 - Grazer Philosophische Studien 19 (1):109-129.
Musical Twofoldness.Bence Nanay - 2012 - The Monist 95 (4):607-624.
Defending Musical Perdurantism.Ben Caplan & Carl Matheson - 2006 - British Journal of Aesthetics 46 (1):59-69.
Music Without Metaphysics?Christopher Bartel - 2011 - British Journal of Aesthetics 51 (4):383-398.
Musical Works and Orchestral Colour.Stephen Davies - 2008 - British Journal of Aesthetics 48 (4):363-375.
Musical Recordings.Andrew Kania - 2009 - Philosophy Compass 4 (1):22-38.