In Defence of Higher-Order Musical Ontology: A Reply to Lee B. Brown

British Journal of Aesthetics 52 (1):97-102 (2012)
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Abstract

In a recent article in this journal, Lee B. Brown criticizes one central kind of project in higher-order musical ontology—the project of offering an ontological theory of a particular musical tradition. I defend this kind of project by replying to Brown’s critique, arguing that musical practices are not untheorizably messy, and that a suitably subtle descriptivist ontology of a given practice can be valuable both theoretically and practically

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Andrew Kania
Trinity University

Citations of this work

A Return to Musical Idealism.Wesley D. Cray & Carl Matheson - 2017 - Australasian Journal of Philosophy 95 (4):702-715.
The philosophy of music.Andrew Kania - 2008 - Stanford Encyclopedia of Philosophy.
The Poverty of Musical Ontology.James O. Young - 2014 - Journal of Music and Meaning 13:1-19.

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References found in this work

All Play and No Work: An Ontology of Jazz.Andrew Kania - 2011 - Journal of Aesthetics and Art Criticism 69 (4):391-403.
New waves in musical ontology.Andrew Kania - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave-Macmillan. pp. 20--40.
Do Higher-Order Music Ontologies Rest on a Mistake?L. B. Brown - 2011 - British Journal of Aesthetics 51 (2):169-184.

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