Results for 'Meta-Ontology of Music'

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  1.  15
    Descriptivism in Meta-Ontology of Music: A Plea for Reflective Equilibrium.Lisa Giombini - 2020 - Espes. The Slovak Journal of Aesthetics 8 (2):59-73.
    In this paper, I investigate one popular view in current methodological debate about musical ontology, namely, descriptivism. According to descriptivism, the task of musical ontology is to offer a description of the ‘structure of our thought’ about musical works, as it manifests itself in actual musical practices. In this regard, descriptivists often appeal to our pre-theoretical intuitions to ground ontological theories of musical works. This method, however, is worrisome, as such intuitions are unstable and contradictory. For example, there (...)
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  2.  26
    Descriptivism in Meta-Ontology of Music: A Plea for Reflective Equilibrium.Lisa Giombini - 2019 - Espes 9 (2):59-73.
    In this paper, I investigate one popular view in current methodological debate about musical ontology, namely, descriptivism. According to descriptivism, the task of musical ontology is to offer a description of the ‘structure of our thought’ about musical works, as it manifests itself in actual musical practices. In this regard, descriptivists often appeal to our pre-theoretical intuitions to ground ontological theories of musical works. This practice, however, is worrisome, as such intuitions are unstable and contradictory. For example, there (...)
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  3.  25
    Descriptivism in Meta-Ontology of Music: A Plea for Reflective Equilibrium.Lisa Giombini - 2020 - Espes 9 (1):59-73.
    In this paper, I investigate one popular view in current methodological debate about musical ontology, namely, descriptivism. According to descriptivism, the task of musical ontology is to offer a description of the ‘structure of our thought’ about musical works, as it manifests itself in actual musical practices. In this regard, descriptivists often appeal to our pre-theoretical intuitions to ground ontological theories of musical works. This practice, however, is worrisome, as such intuitions are unstable and contradictory. For example, there (...)
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  4.  20
    The Scope Argument, MICHAEL O'ROURKE.Against Musical Ontology & Aaron Ridley - 2003 - Journal of Philosophy 100 (3).
  5. Musical works: Ontology and meta-ontology.Julian Dodd - 2008 - Philosophy Compass 3 (6):1113-1134.
    The ontological nature of works of music has been a particularly lively area of philosophical debate during the past few years. This paper serves to introduce the reader to some of the most fertile and interesting issues. Starting by distinguishing three questions – the categorial question, the individuation question, and the persistence question – the article goes on to focus on the first: the question of which ontological category musical works fall under. The paper ends by introducing, and briefly (...)
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  6. Teaching & learning guide for: Musical works: Ontology and meta-ontology.Julian Dodd - 2009 - Philosophy Compass 4 (6):1044-1048.
    A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. (...)
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  7. Methodology in the ontology of artworks: exploring hermeneutic fictionalism.Elisa Caldarola - 2020 - In Concha Martinez Vidal & José Luis Falguera Lopez (ed.), Abstract Objects: For and Against.
    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 (...)
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  8. The Ontology of Musical Works and the Role of Intuitions: An Experimental Study.Christopher Bartel - 2018 - European Journal of Philosophy 26 (1):348-367.
    Philosophers of music often appeal to intuition to defend ontological theories of musical works. This practice is worrisome as it is rather unclear just how widely shared are the intuitions that philosophers appeal to. In this paper, I will first offer a brief overview of the debate over the ontology of musical works. I will argue that this debate is driven by a conflict between two seemingly plausible intuitions—the repeatability intuition and the creatability intuition—both of which may be (...)
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  9. Experimental Ontology of Music.Elzė Sigutė Mikalonytė - manuscript
    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.
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  10.  24
    The meta-ontology of AI systems with human-level intelligence.Roman Krzanowski & Pawel Polak - 2022 - Zagadnienia Filozoficzne W Nauce 73:197-230.
    In this paper, we examine the meta-ontology of AI systems with human-level intelligence, with us denoting such AI systems as AI E. Meta-ontology in philosophy is a discourse centered on ontology, ontological commitment, and the truth condition of ontological theories. We therefore discuss how meta-ontology is conceptualized for AI E systems. We posit that the meta-ontology of AI E systems is not concerned with computational representations of reality in the form of (...)
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  11. Intuitions in the Ontology of Musical Works.Elzė Sigutė Mikalonytė - 2022 - Review of Philosophy and Psychology 13 (2):455-474.
    An impressive variety of theories of ontology of musical works has been offered in the last fifty years. Recently, the ontologists have been paying more attention to methodological issues, in particular, the problem of determining criteria of a good theory. Although different methodological approaches involve different views on the importance and exact role of intuitiveness of a theory, most philosophers writing on the ontology of music agree that intuitiveness and compliance with musical practice play an important part (...)
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  12. The ontology of musical works: A philosophical pseudo-problem.James O. Young - 2011 - Frontiers of Philosophy in China 6 (2):284-297.
    A bewildering array of accounts of the ontology of musical works is available. Philosophers have held that works of music are sets of performances, abstract, eternal sound-event types, initiated types, compositional action types, compositional action tokens, ideas in a composer’s mind and continuants that perdure. This paper maintains that questions in the ontology of music are, in Rudolf Carnap’s sense of the term, pseudo-problems. That is, there is no alethic basis for choosing between rival musical ontologies. (...)
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  13.  29
    The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types.Nemesio García-Carril Puy - 2019 - Journal of Aesthetics and Art Criticism 77 (3):241-254.
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  14. Unperformable Works and the Ontology of Music.Wesley D. Cray - 2016 - British Journal of Aesthetics 56 (1):67-81.
    Some artworks—works of music, theatre, dance, and the like—are works for performance. Some works for performance are, I contend, unperformable. Some such works are unperformable by beings like us; others are unperformable given our laws of nature; still others are unperformable given considerations of basic logic. I offer examples of works for performance—focusing, in particular, on works of music—that would fit into each of these categories, and go on to defend the claim that such ‘works’ really are genuine (...)
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  15. The ontology of musical works and the authenticity of their performances.Stephen Davies - 1991 - Noûs 25 (1):21-41.
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  16. Types, continuants, and the ontology of music.Julian Dodd - 2004 - British Journal of Aesthetics 44 (4):342-360.
    Are works of music types of performance or are they continuants? Types are unchanging entities that could not have been otherwise; continuants can undergo change through time and could have been different. Picking up on this distinction, Guy Rohrbaugh has recently argued that musical works are continuants rather than performance-types. This paper replies to his arguments and, in the course of so doing, elaborates and defends the conception of musical works as types of performance. I end the article by (...)
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  17.  46
    “An Argument against a Meta-Ontology of Art Inspired by Peter Lamarque’s Reading of Jean Paul Sartre”.Elisa Caldarola - 2019 - Aesthetica Preprint 111:85-96.
    As Peter Lamarque explains in "Work and Object", the claim that artworks are not identical with their vehicles lies at the core of a variety of art-ontological accounts, including Jean-Paul Sartre’s one. In chapter 10, Lamarque gives us an insightful read-ing of Sartre’s art-ontological proposal: works of art in themselves do not exist, while what exists is their ‘material analogue’ which, when perceived, arouses in us certain imaginings. What we call ‘artwork’ is the object of such imaginings – an object (...)
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  18. The ontology of music and the challenge of performance.Anthony Pryer - 2014 - In Taina Riikonen & Marjaana Virtanen (eds.), The embodiment of authority: perspectives on performances. New York: Peter Lang.
     
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  19.  21
    ONTOLOGY OF MUSIC GROUPS: Identity, Persistence, and Agency of Creative.Ludger Jansen & Thorben Petersen (eds.) - 2024 - Routledge.
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  20. Works of music: an essay in ontology.Julian Dodd - 2007 - New York: Oxford University Press.
    Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties (...)
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  21. (Meta-Philosophy) Meta-Cognition and Critique of Doing Philosophizing.de Balbian Ulrich - forthcoming - Oxford: Academic Publishers.
    FREE to download my New Book . https://www.academia.edu/31495642/_Meta-Philosophy_Meta-Cognition_and_Critique_of_Doing_Philosophizi ng am in the top 0.5% of Academic Publications on Academia.Edu and belong to a group of Academic giving our work for FREE as Commercial Publishers change too much for books. My new book is HERE for download: https://www.academia.edu/31495642/_Meta-Philosophy_Meta-Cognition_and_Critique_of_Doing_Philosophizi ng Abstract So far in my books and articles I have dealt with the following‭ (‬I hope I do not commit self-plagiarism by referring to my previous work and ideas expressed therein‭! ‬Lol‭)‬: -/- My own (...)
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  22.  63
    Methodological Questions about the Ontology of Music.Robert Stecker - 2009 - Journal of Aesthetics and Art Criticism 67 (4):375 - 386.
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  23. Works of Music: An Essay in Ontology.Julian Dodd - 2008 - Journal of Aesthetics and Art Criticism 66 (2):201-203.
     
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  24. Has the Ontology of Music Rested on a Mistake?Stefano Predelli - 2002 - Literature & Aesthetics 12:7-19.
     
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  25.  11
    Nietzsche, Dionysus, and the Ontology of Music.Christoph Cox - 2006-01-01 - In Keith Ansell Pearson (ed.), A Companion to Nietzsche. Blackwell. pp. 495–513.
    This chapter contains sections titled: Music, Science, and the Interpretation of Existence Dionysus and Apollo The Music of Dionysus Music, Science, and the Interpretation of Existence (Reprise).
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  26.  80
    Every Performance Is a Stage: Musical Stage Theory as a Novel Account for the Ontology of Musical Works.Caterina Moruzzi - 2018 - Journal of Aesthetics and Art Criticism 76 (3):341-351.
    This paper defends Musical Stage Theory as a novel account of the ontology of musical works. Its main claim is that a musical work is a performance. The significance of this argument is twofold. First, it demonstrates the availability of an alternative, and ontologically tenable, view to well-established positions in the current debate on musical metaphysics. Second, it shows how the revisionary approach of Musical Stage Theory actually provides a better account of the ontological status of musical works.
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  27. Meta-Ontology, Epistemology & Essence: On the Empirical Deduction of the Categories.Fraser MacBride & Frederique Janssen-Lauret - 2015 - The Monist 98 (3):290-302.
    A priori reflection, common sense and intuition have proved unreliable sources of information about the world outside of us. So the justification for a theory of the categories must derive from the empirical support of the scientific theories whose descriptions it unifies and clarifies. We don’t have reliable information about the de re modal profiles of external things either because the overwhelming proportion of our knowledge of the external world is theoretical—knowledge by description rather than knowledge by acquaintance. This undermines (...)
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  28.  11
    Keith Campbell.Of Ontology - 2012 - In Lila Haaparanta & Heikki Koskinen (eds.), Categories of Being: Essays on Metaphysics and Logic. Oxford University Press, Usa. pp. 420.
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  29. Constitution and qua objects in the ontology of music.Simon J. Evnine - 2009 - British Journal of Aesthetics 49 (3):203-217.
    Musical Platonists identify musical works with abstract sound structures but this implies that they are not created but only discovered. Jerrold Levinson adapts Platonism to allow for creation by identifying musical works with indicated sound structures. In this paper I explore the similarities between Levinson's view and Kit Fine's theory of qua objects. Fine offers the theory of qua objects as an account of constitution, as it obtains, for example, between a statue and the clay the statue is made out (...)
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  30.  28
    The Ontology of Rock Music: Recordings, Performances and The Synthetic View.Hugo Luzio - 2019 - Filozofija I Društvo 30 (1):73-82.
    This paper discusses the state-of-the-art dispute over the ontological question of rock music: what is the work of art, or the central work-kind, of rock music, if any? And, is the work of rock music ontologically distinct from the work of classical music, which is the only musical tradition whose ontology is vastly studied? First, I distinguish between two levels of inquiry in musical ontology: the fundamental level and the higher-order level, in which comparative (...)
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  31.  30
    Contextualizing Platonism and Decontextualizing Aristotelianism in the Ontology of Music.Nemesio García-Carril Puy - 2020 - Journal of Aesthetics and Art Criticism 78 (2):183-196.
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  32.  9
    Ontology of Time as a Deconstruction of Space. An essay on the Philosophy of Byzantine music.Risto Solunchev - 2019 - Conatus 4 (1):109.
    In this paper the author examines the ontology of Byzantine music in its self, its aesthetical ground, the philosophical and cultural principles of creation, its episteme, the epistemological field that produced its forms from the 12th till the 14th century, and why that musical ontology hasn’t change through the centuries. The paper discusses in partucular Ernst Bloch’s view that the only evolutionary expression of the Absolute spirit as far as music is concerned, is Western classical (...). The author claims that the Western and the Byzantine music stand for two totally distinct and diverse ontologies of the musical being, something that Bloch seems to overlook; this, according to the author, is mostly due to the different systems of representation that have been used, and especially the representational ideas of the time-space relation. The author supports the view that while Western music is spatially-modeled, Byzantine music is time-modeled. (shrink)
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  33. Ontology of the Work of Art: The Musical Work; The Picture; The Architectural Work; The Film.Roman Ingarden, Raymond Meyer & John T. Goldthwait - 1990 - Journal of Aesthetics and Art Criticism 48 (1):85-87.
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  34. The Poverty of Musical Ontology.James O. Young - 2014 - Journal of Music and Meaning 13:1-19.
    Aaron Ridley posed the question of whether results in the ontology of musical works would have implications for judgements about the interpretation, meaning or aesthetic value of musical works and performances. His arguments for the conclusion that the ontology of musical works have no aesthetic consequences are unsuccessful, but he is right in thinking (in opposition to Andrew Kania and others) that ontological judgements have no aesthetic consequences. The key to demonstrating this conclusion is the recognition that ontological (...)
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  35.  14
    Online music recommendation platforms as representations of ontologies of musical taste.Benjamin Krämer - 2018 - Communications 43 (2):259-281.
    The framework of the ‘social ontology of the internet’ is applied to music recommendation platforms. Those websites provide individual suggestions of music to users, creating new dynamics of taste that are no longer based on human-to-human interaction and verbalized judgments. An exemplary analysis of three platforms shows that different conceptions of musical tastes are represented by technical systems: situational emotional preferences, a formalist aesthetics, and social proximity based on tastes. The platforms share certain assumptions about the (...) of musical entities and of course the constitutive act of recommending. We discuss how this act can be ascribed to technical systems. Theses on the platforms’ effects on the social structure of musical tastes are developed. (shrink)
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  36. There are No Things That are Musical Works.Ross P. Cameron - 2008 - British Journal of Aesthetics 48 (3):295-314.
    Works of music do not appear to be concrete objects; but they do appear to be created by composers, and abstract objects do not seem to be the kind of things that can be created. In this paper I aim to develop an ontological position that lets us salvage the creativity intuition without either adopting an ontology of created abstracta or identifying musical works with concreta. I will argue that there are no musical works in our ontology, (...)
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  37.  99
    Meta-Ontology, Naturalism, and The Quine-Barcan Marcus Debate.Frederique Janssen-Lauret - 2015 - In Frederique Janssen-Lauret & Gary Kemp (eds.), Quine and His Place in History. Palgrave. pp. 146-167.
    Twenty-first century critics frequently misread Quinean ontological commitment as a toothless doctrine of anti-metaphysical pragmatism. Janssen-Lauret's historical investigations reveal that they misinterpret the influence of Quine's naturalism. His naturalistic view of philosophy as continuous with science informs a much more interesting conception of ontological commitments as generated by indispensable explanatory roles. But Janssen-Lauret uncovers a previously undetected weakness in Quine's meta-ontology. Careful examination of his debate with another naturalistic nominalist, Ruth Barcan Marcus, reveals that his holism leaves him (...)
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  38.  31
    Effects of Music on Agitation in Dementia: A Meta-Analysis.Siv K. A. Pedersen, Per N. Andersen, Ricardo G. Lugo, Marita Andreassen & Stefan Sütterlin - 2017 - Frontiers in Psychology 8.
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  39.  15
    Somewhere Between Plato and Pinker: A Heideggerian Ontology of Music.Casey Rentmeester - 2022 - In Casey Rentmeester & Jeff R. Warren (eds.), Heidegger and Music. London and New York: Rowman & Littlefield. pp. 235-252.
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  40. Meta-ontology.Peter Van Inwagen - 1998 - Erkenntnis 48 (2-3):233--50.
    Quine has called the question, ‘What is there?’ the “ontological question.” But if we call this question by that name, what name shall we use for the question, ‘What are we asking when we ask “What is there?”’? I shall call it ‘the meta-ontological question’. I shall call the attempt to answer the meta-ontological question ‘meta-ontology’ and any proposed answer to it ‘a meta-ontology’. In this essay, I shall briefly sketch a meta-ontology. (...)
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  41. Meta-Ontology.Peter van Inwagen - 1998 - Erkenntnis 48:233-250.
    Quine has called the question, ‘What is there?’ the “ontological question.” But if we call this question by that name, what name shall we use for the question, ‘What are we asking when we ask “What is there?”’? I shall call it ‘the meta-ontological question’. I shall call the attempt to answer the meta-ontological question ‘meta-ontology’ and any proposed answer to it ‘a meta-ontology’. In this essay, I shall briefly sketch a meta-ontology. (...)
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  42. The Ontology of the Musical Work.Roger Scruton - 2013 - Disputatio. Philosophical Research Bulletin 2 (3):25--50.
    [ES] Confronta ciertos enigmas surgidos en torno a la naturaleza e identidad de la obra musical, y rechaza estos enigmas por irreales: o bien ellos conciernen a la obra musical en sí misma, en cuyo caso son enigmas acerca del estatus metafísico de un objeto intencional, y por lo tanto susceptibles a una solución arbitraria, o bien ellos conciernen a los sonidos con los que la obra es escuchada, en cuyo caso simplemente se trata de casos especiales de los problemas (...)
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  43.  39
    Works of music: An essay in ontology - by Julian Dodd.Jonathan Mckeown-Green - 2008 - Philosophical Books 49 (4):394-396.
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  44.  7
    Emotions, identity, and copyright control: the constitutive role of affect attunement and its implications for the ontology of music.Ulrik Volgsten - 2013 - In Tom Cochrane, Bernardino Fantini & Klaus R. Scherer (eds.), The Emotional Power of Music: Multidisciplinary Perspectives on Musical Arousal, Expression, and Social Control. Oxford University Press. pp. 341.
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  45.  6
    On the meta-category of Chinese music aesthetics.Sai Yang - 2021 - Hackensack, NJ: World Scientific.
    This book opens with the emergence and development of the discipline of aesthetics in western countries, specifically the history of Western Music Aesthetics, to study and delve into the development of Chinese Music Aesthetics. The book provides a clear timeline throughout the writing - from the history of Chinese Music Aesthetics, to the construction of a theoretical framework, and the intersections and conversations between Western and Chinese Music Aesthetics. This academic piece is fundamentally consistent with the (...)
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  46. The methodology of musical ontology: Descriptivism and its implications.Andrew Kania - 2008 - British Journal of Aesthetics 48 (4):426-444.
    I investigate the widely held view that fundamental musical ontology should be descriptivist rather than revisionary, that is, that it should describe how we think about musical works, rather than how they are independently of our thought about them. I argue that if we take descriptivism seriously then, first, we should be sceptical of art-ontological arguments that appeal to independent metaphysical respectability; and, second, we should give ‘fictionalism’ about musical works—the theory that they do not exist—more serious consideration than (...)
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  47. Composition as analysis: the meta-ontological origins (and future) of composition as identity.Martina Botti - 2019 - Synthese 198 (Suppl 18):4545-4570.
    In this paper, I argue that the debate on Composition as Identity—the thesis that any composite object is identical to its parts—is deadlocked because both the defenders and the detractors of the claim have so far failed to take its philosophical core at face value and have, as a result, defended and criticized respectively something that is not Composition as Identity. After establishing how Composition as Identity should properly be understood and proposing for it a new interpretation centered around the (...)
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  48. Making tracks: The ontology of rock music.Andrew Kania - 2006 - Journal of Aesthetics and Art Criticism 64 (4):401–414.
    I argue that the work of art in rock music is a track constructed in the studio, that tracks usually manifest songs, which can be performed live, and that a cover version is a track (successfully) intended to manifest the same song as some other track. This ontology reflects the way informed audiences talk about rock. It recognizes not only the centrality of recorded tracks to the tradition, as discussed by Theodore Gracyk, but also the value accorded to (...)
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  49.  7
    Meta-Ontology.Peter van Inwagen - 1999 - The Proceedings of the Twentieth World Congress of Philosophy 2:65-72.
    Quine has called the question, ‘What is there?’ the “ontological question.” But if we call this question by that name, what name shall we use for the question, ‘What are we asking when we ask “What is there?”’? I shall call it ‘the meta-ontological question’. I shall call the attempt to answer the meta-ontological question ‘meta-ontology’ and any proposed answer to it ‘a meta-ontology’. In this essay, I shall briefly sketch a meta-ontology. (...)
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  50.  5
    Evolution of the ontology of ancient Chinese music.Irina Aleksandrovna Zhernosenko & Tszyayui Lun - forthcoming - Philosophy and Culture (Russian Journal).
    The subject of the study is the ontological ideas of ancient Chinese music in the context of the formation of philosophical schools of Ancient China, which make it possible to identify a number of philosophical categories that underlie traditional chinese music and outline different approaches to its understanding and interpretation. Most Chinese researchers in the field of musical aesthetics focus on the art of music, rare to pay attention to the philosophical origins of the categories of (...) that past thinkers wrote about when analyzing laws of existence of the universe. Restoring and rethinking these values in the context of the philosophical and cultural analysis of ancient Chinese music is key to this work, which allows us to gain an understanding of the specifics of ancient Chinese culture and its musical heritage. The novelty of the work lies in carrying out the correlation of genesis of the musical ontology of Ancient China with the dynamics of the formation of the philosophical schools of Confucianism, Taoism and Buddhism, their rise or fall depending on the historical and cultural situation. Musical philosophy in China has not yet become an independent discipline, so the presented work makes a significant contribution to the field of musical ontology. During the study, the authors revealed three main aspects which are basic for the ontology of ancient Chinese music: The nature of music has its source three categories: Tao, air and sound, existing both in a natural state in nature and embodied in musical structure and instruments; Sound and rhythm being the essence to any musical work, organize the sounding space in accordance with the cosmic order; The metaphysical nature of music is justified by the basic principles of Taoist philosophy and number theory. (shrink)
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