The sound of the concerto. Against the invariantist approach to musical ontology

British Journal of Aesthetics 46 (2):144-162 (2006)
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Abstract

According to a popular approach to the ontology of music, the identity conditions for a musical work include the specification of properties of sound, which constrain the class of its correct performances. This essay argues that the resulting invariantist view of the work–performance relation is inadequate and defends a contextualist alternative.

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10.1093/aesthj/ayj019

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Stefano Predelli
Nottingham University

Citations of this work

Intuitions in the Ontology of Musical Works.Elzė Sigutė Mikalonytė - 2022 - Review of Philosophy and Psychology 13 (2):455-474.
Performing Works of Music Authentically.Julian Dodd - 2012 - European Journal of Philosophy 23 (3):485-508.
Ontologese and Musical Nihilism: A Reply to Cameron: Articles.Stefano Predelli - 2009 - British Journal of Aesthetics 49 (2):179-183.

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References found in this work

Adjectives in context.Zoltán Gendler Szabó - 2010 - In Darragh Byrne & Max Kölbel (eds.), Arguing about language. New York: Routledge.
Musical works as eternal types.Julian Dodd - 2000 - British Journal of Aesthetics 40 (4):424-440.
What a Musical Work Is, Again.Jerrold Levinson - 2011 - In Music, Art, and Metaphysics. Oxford: Oxford University Press. pp. 215-263.
Defending musical platonism.Julian Dodd - 2002 - British Journal of Aesthetics 42 (4):380-402.
Ontology of art.Stephen Davies - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 155--180.

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