Ontology of Music

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.

This essay examines Nietzsche’s musical ontology and situates it within the naturalist and anti-metaphysical framework evident throughout his corpus. Nietzsche often associated this position with the figure of Dionysus, which plays a leading role in The Birth of Tragedy, his most sustained consideration of music and musical ontology. The essay returns to The Birth of Tragedy in an effort to recover Nietzsche’s musical ontology and its relationship with ontology more generally. Heeding Nietzsche’s own remarks, I read this text in light (...) of his mature philosophy. My analysis draws on the work of the late twentieth-century Nietzschean, Gilles Deleuze, whose distinction between “the virtual” and “the actual” enables us to see what is really at issue in The Birth of Tragedy. (shrink)

How can sound and space be connected not only in a metaphorical sense? Over the last decades, philosophy of sound, aesthetics, and musicology have shown increasing interest in space inquiry. However, the way we interact with each other, communicate in space, and gather information about/in space is rooted in sound in a completely different way from those of musical metaphors. In this paper, I present an analysis of the role sound plays in the constitution of both space and relations of (...) intimacy within it. Starting from the wealthy tips that E. T. Hall gives to us in order to delineate a new understanding of proxemics that includes sound experience, I argue that sound, silence, and noise are essential to determine the intimate space and the way we interact with it. Moving from a classical proxemics perspective, the analysis will focus on the intimate relation between sound, space, and body, dialoguing with phenomenology, anthropology, semiotics, and philosophy of space. (shrink)

Psychological and neuroscientific inquiry pointed out the value of attention for auditory perception. Recent studies have identified that the problem is not one of finding a location for a given task, but of identifying how and what one wants to do with a given stimulus. This radicalises the problem of attention in perception. In this paper I try bring experimental research into dialogue with social role of emotions and attention in sonorous and musical field from the point of view of (...) anthropology and ethnomusicology. (shrink)

This essay aims to inquiry into the main factors responsible for the growth of modern acoustics, which basically have to be traced back to the empirical turn occurred in science of music around 1600. Helmholtz’s theory of sound will be regarded as most scientifically significant archetype of modern acoustics. In Section 1 a general historical overview of the science of music will be given and its importance for the development of modern science and mathematics considered. In Section 2 the internal (...) historical roots of modern acoustics, thus of Helmholtz’s theory of sound will be analyzed. Finally, in Section 3 positive and negative elements of Helmholtz’s acoustic will be discussed and its external historical roots as well as its actual epistemological relevance examined. (shrink)

Cover songs are a familiar feature of contemporary popular music. Musicians describe their own performances as covers, and audiences use the category to organize their listening and appreciation. However, until now philosophers have not had much to say about them. This book explores how to think about covers, appreciating covers, and the metaphysics of covers and songs. Along the way, it explores a range of issues raised by covers, from the question of what precisely constitutes a cover, to the history (...) and taxonomy of the category, the various relationships that hold between songs, performances, and tracks, and the appreciation and evaluation of covers. (shrink)

In response to Stephen Davis’s criticism of our previous essay, we revisit and defend our arguments that the Resurrection hypothesis is logically incompatible with the Standard Model of particle physics—and thus is maximally implausible—and that it cannot explain the sensory experiences of the Risen Jesus attributed to various witnesses in the New Testament—and thus has low explanatory power. We also review Davis’s reply, noting that he evades our arguments, misstates their conclusions, and distracts the reader with irrelevancies regarding, e.g., what (...) natural laws are, what a miracle is, and how “naturalism” and “supernaturalism” differ as worldviews. Contrary to what Davis claims (even in his abstract), we do not argue that “if the Standard Model of particle physics is true, then the resurrection of Jesus did not occur and physical things can only causally interact with other physical things.” Davis distorts our claims and criticizes straw men of his own creation. (shrink)

L'articolo analizza i fondamenti delle indagini percettive nell'impostazione fenomenologica. In particolare l'ambito uditivo si struttura in modalità, ricezioni ed analisi che, attraverso la critica di vari autori (Husserl, Heidegger, Dufrenne, Ihde, Schaeffer), si mostrano articolate in due direzioni (soggetto-oggetto e oggetto-soggetto). L' analisi delle componenti costitutive porta a riconoscere come ricorrente tra autori differenti quell'impostazione del problema la quale asserisce che, se da un lato non può prescindere dall'attività percettiva, come attività propria del soggetto, dall'altro questa stessa cerca una legittimità (...) emergente dalle cose stesse. La costituzione, una volta riconosciuto il darsi dell'oggetto sonoro, risiede, tuttavia, nelle attività percettive che delineano così il differenziarsi degli ascolti. (shrink)

At the heart of Anders Pettersson’s 2017 book, The Idea of a Text and the Nature of Textual Meaning, is his proposed “cluster” definition of a textual work. On this view, a text is a cluster of three kinds of objects: all the physical exemplars of the work, the work’s meaning, and the complex signs that convey that meaning. Pettersson contrasts this with the “ordinary conception” of a text, wherein a text is a unitary object made of the signs and (...) meaning, and each exemplar is an instance of the supervening textual work. The cluster definition is preferable because it is able to overcome contradictions plaguing the ordinary conception and its competitors. This cluster conception of a textual work is both original and deserving of more critical attention. Pettersson not only motivates the view well through his consideration of key examples, but deftly handles the obvious objections. Although the cluster conception is revisionary of our ordinary conception, he makes a strong case. However, I do not focus here on the heart of Pettersson’s work but on something akin to its spleen; Pettersson’s criticism of David Davies’ “Pragmatic Constraint” (PC) on the ontology of artworks. (shrink)

Denne artikel hedder ”Musikalske Omgangsformer”. Men den fortæller ikke så meget om, hvorledes musikalske omgangsformer tager sig ud, som den fører til et punkt, hvor musikalske omgangsformer bliver sigtbare og påtrængende. Snarere end at præsentere en teori om musikalske omgangsformer anviser den et sted, hvor en teoridannelse er påkrævet. Udgangspunktet bliver en påvisning af, hvorledes den fænomenologiske tilgang til det musikalske fænomen svigter ved tematisk og dog stiltiende at hævde musikstykket, satsen, som sin genstand. Utilstrækkeligheden påpeges inden for den fænomenologiske (...) analyses eget univers. Som sådan vil den ved artiklens afslutning yderligere omfatte formuleringen af den påpegede utilstrækkelighed. Fra dette – negative – udgangspunkt tages skridtet ind i et rum, der skal indbefatte de påviste løse ender og samtidig give plads for, at vi med positivt udgangspunkt i en praxis-orienteret filosofi kan komme til at binde de nødvendige knuder. (shrink)

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 positive meta-ontological views that have (...) been defended in philosophical literature about artworks and of some criticisms that can be lodged against them: Amie Thomasson’s global descriptivism, Andrew Kania’s local descriptivism, Julian Dodd’s folk-theoretic modesty, and David Davies’ rational accountability view. In the conclusion, I show the advantages of my view. (shrink)

We respond to Stephen T. Davis’ criticism of our earlier essay, “Assessing the Resurrection Hypothesis.” We argue that the Standard Model of physics is relevant and decisive in establishing the implausibility and low explanatory power of the Resurrection hypothesis. We also argue that the laws of physics have entailments regarding God and the supernatural and, against Alvin Plantinga, that these same laws lack the proviso “no agent supernaturally interferes.” Finally, we offer Bayesian arguments for the Legend hypothesis and against the (...) Resurrection hypothesis. (shrink)

The hypothesis that God supernaturally raised Jesus from the dead is argued by William Lane Craig to be the best explanation for the empty tomb and postmortem appearances of Jesus because it satisfies seven criteria of adequacy better than rival naturalistic hypotheses. We identify problems with Craig’s criteria-based approach and show, most significantly, that the Resurrection hypothesis fails to fulfill any but the first of his criteria—especially explanatory scope and plausibility.

John Herbinius (1633–1679) was a well-known Lutheran theologian and writer. Living for a long time on the territory of the Polish-Lithuanian Commonwealth, he wrote a description of the religious caves of Kyiv, which was published in 1675 in Jena. Plenty of popular cults of Ruthenian spiritual life of the first half of the seventeenth century are reflected in the book. It is important to underline that Herbinius did not criticize the glorification and imitation of saints. He briefly mentioned their post-mortem (...) waiting role in the place of salvation and omitted the Orthodox prayers to them. The great Orthodox mistake for Herbinius was glorifying human and not Christ’s merits as a cause of sanctity and miracle. This very important theological difference was, however, the only one distinction that Herbinius saw between the Orthodox and Protestant traditions of the veneration of saints. The veneration of relics was not criticized by John Herbinius either. On the contrary, relics of Christ’s followers can and must be worshiped, through them God performs miracles, the Protestant author believed. However, Herbinius did not share the Orthodox idea of miraculous unperishability of the saints’ remains in the Cave Monastery. Those remains, as he wrote, are particularly damaged and particularly preserved because of the existing ventilation system in the caves; the saints’ heads are oozing the oil as a result of absorbing of the special air as well. Trying to provide these arguments, Herbinius aimed to deny the core of the Orthodox belief that Kyiv relics preserved undamageed because of great merits and dignities possessed by the Cave fathers in the eyes of God. Obviously, the very idea of merits, earned by the monks due to their ascetic efforts, could have not been accepted by the Protestant author. It strongly contradicted with his confessional views and was unambiguously treated by him as idolatry. (shrink)

In Interstitial Soundings, Cynthia R. Nielsen brings music and philosophy into a fruitful and mutually illuminating dialogue. Topics discussed include the following: music's dynamic ontology, performers and improvisers as co-composers, the communal character of music, jazz as hybrid and socially constructed, the sociopolitical import of bebop, Afro-modernism and its strategic deployments, jazz and racialized practices, continuities between Michel Foucault's discussion of self-making and creating one's musical voice, Alasdair MacIntyre on practice, and how one might harmonize MacIntyre's notion of virtue development (...) with Foucauldian resistance strategies. (shrink)

Christy Mag Uidhir’s Art and Art-Attempts begins from two deceptively simple observations: artworks are the product of intentions, and intentions are the kinds of things that can fail to be realized successfully. Drawing on these observations, he argues that most contemporary theories of art must be rejected because they are not substantively intention-dependent: that is, they do not account for the fact that an attempt to make an artwork can fail. From his view that artworks must be the product of (...) art-attempts that are subject to failure, Mag Uidhir derives implications for many domains in the philosophy of art. He argues that artworks cannot be abstract objects, since abstract objects cannot participate in causal relations and thus can’t be the product of art attempts: one can’t coherently intend or attempt to create something that exists eternally. Things that we think of as repeatable artworks, then, can’t be abstract types: instead, Mag Uidhir proposes, every artwork is concrete, but some are tied together by a relation of relevant similarity. In this symposium, Mag Uidhir replies to three critics, David Davies, Sherri Irvin and Keith Lehrer. All three critics examine the relevant similarity relation that Mag Uidhir proposes to account for artworks that we treat as repeatable, while also considering a variety of other issues. (shrink)

This paper is about knowledge construction in music listening. It argues for an experiential approach to music cognition, stressing the dynamic-vectorial field of meaning rather than the symbolic field. Starting from the conceptual framework of deixis and indexical devices, it elaborates on the concept of pointing as a heuristic guide for sense-making which allows the listener to conceive of perceptual elements in terms of salience, valence and semantical weight. As such, the act of (mental) pointing can be predicative, either in (...) a nominalistic or processual way, giving a description of the temporal evolution of a situation as against episodic nominalizations that refer to just one single instance of the process. The latter, especially, are characterized by distancing and polarization between the listener and the music, allowing him/her to deal with the music also at a level of mental imagery and to construct a mental or cognitive map of its unfolding. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...) work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

In his article untitled Messages in Art Jerrold Levinson discusses the idea of a message behind a work of art. He argues that despite certain disclaimers put forward by artists it is „hard to deny that artworks (...) very often do have messages, and far from inexpressible ones”. From given examples it would seem that Levinson assumes that musical work just as other artworks sometimes generate messages and that in order for a work of music to be successful in expression (...) this message should be comprehensible and certainly not incoherent. The author of this paper draws on Levinson's “Messages in Art” as well as his “Music as Narrative and Music as Drama” to explore further the issues mentioned above. In particular the author argues that seeing musical works through the message it may generate is somewhat reductive and that musical work as well as other artworks are prone to abiding by an aesthetic code and therefore even when they allow for interpretation in terms of messages or morals these messages are incoherent or vague at best. (shrink)

Criteria of historical assessment are applied to the Turin Shroud to determine which hypothesis relating to the image formation process is the most likely. To implement this, a ‘Minimal Facts’ approach is followed that takes into account only physicochemical and historical data receiving the widest consensus among contemporary scientists. The result indicates that the probability of the Shroud of Turin being the real shroud of Jesus of Nazareth is very high; historians and natural theologians should therefore pay it increased attention.

The Austrian philosopher Christian von Ehrenfels published his essay "On 'Gestalt Qualities'" in 1890. The essay initiated a current of thought which enjoyed a powerful position in the philosophy and psychology of the first half of this century and has more recently enjoyed a minor resurgence of interest in the area of cognitive science, above all in criticisms of the so-called 'strong programme' in artificial intelligence. The theory of Gestalt is of course associated most specifically with psychologists of the Berlin (...) school such as Max Wertheimer, Wolfgang Kohler and Kurt Koffka. We shall see in what follows, however, that an adequate philosophical understanding of the Gestalt idea and of Ehrenfels' achievement will require a close examination not merely of the work of the Berlin school but also of a much wider tradition in Austrian and German philosophy in general. (shrink)

According to the Christian religion, Jesus was “crucified under Pontius Pilate; he suffered death and was buried. On the third day he rose again”. I take it that this rising again—the Resurrection of Jesus, as it’s sometimes called—is, according to the Christian religion, an historical event, just like his crucifixion, death, and burial. And I would have thought that to investigate whether the Resurrection occurred, we would need to do some historical research: we would need to assess the reliability of (...) the New Testament documents and related manuscripts; we would need to look into the credibility of the witnesses to his post-mortem appearances, the empty tomb, and the like. The task looks rather daunting. But, according to David Hume, we don’t have to do anything of the kind. For no matter how strong the testimony in favor of a miracle is—indeed, even if we “suppose…that the testimony considered apart and in itself, amounts to an entire proof”—we have at our disposal a “full proof…against the existence of any miracle”. So we can avoid all that tedious historical work. We can simply use Hume’s shortcut, a proof against the existence of any miracle, and hence a proof against the Resurrection. So Hume says he has a “a decisive argument,” “an everlasting check to all kinds of superstitious delusion,” superstitious delusions like the Resurrection. There is good news and bad news in Hume’s proclamation. The good news is that he really has two arguments, not just one—or, at any rate, many scholars discern in his writings two arguments. The bad news is that neither succeeds; at any rate, try as I might, I can’t see how they do. (shrink)

Michael Martin introduces a non-Humean conception of miracles according to which miracles are events that need not violate a law of nature and are brought about by the exercise of a possibly non-theistic, supernatural power. Call those m-miracles. I consider Martin’s argument that the occurrence of an m-miracle would not confirm the existence of God. Martin presents an interesting argument, but it does not establish that m-miracles would not confirm the existence God. I argue that, on the contrary, it is (...) quite reasonable to conclude that Martin’s m-miracles provide at least some confirmation for the hypothesis that God exists. (shrink)

This paper combines both an exegetical and philosophical approach to the treatment of miracles in the Markan gospel. Using key insights developed by biblical scholars bearing on the problem of Mark’s treatment of miracles as a basis, I conclude that for the author of Mark, miracles are effects, and as such, signs and symbols of what occurs in the moral and spiritual order. I argue that Mark connects miracles with faith in Jesus, a faith qualified through a grasp of the (...) proper exercise of human power in the kingdom of God. The last section of the paper explores the ontological conditions for the possibility of miracles as they are portrayed in this gospel; there I argue that the best candidate for a theory that squares with Mark’s understanding of miracle is a different one from that found in the contemporary philosophical literature on miracles. (shrink)

This online essay explores how the term "miracle" is best defined and whether it is possible for scientists, as scientists, to believe in miracles.

I consider James Hamilton’s discussion of what I term the complete autonomy thesis, according to which no theatrical performance is a performance of some other work. While agreeing with Hamilton that theatrical performances are often artworks in their own right and that theatrical performance is not a derivative or subsidiary art form, I argue that the complete autonomy thesis overshoots the evidence. Some theatrical performances are autonomous, but many belong to an established tradition of close adherence to the texts of (...) dramatic literature. In such cases, we should say both that the performance itself is an artwork and that it is a performance of some literary work. I suggest that this way of understanding things promotes appreciation of both performances themselves and the dramatic works of literature that are employed in their creation. (shrink)

In this paper, I discuss Colin McGinn’s claim that the mind is not miraculous but merely mysterious, and that this mystery is due to the limits of our cognitive faculties. To adequately present the flow and unity of McGinn’s overall argument, I offer an extended and uninterrupted précis of his case, followed by a critique. I will argue that McGinn’s argument is unsuccessful if it is intended to persuade non-naturalists, but nevertheless may be a plausible position for a naturalist, qua (...) naturalist, to take on the mind. (shrink)

J. L. Mackie, in "The Miracle of Theism" (OUP 1981), chapter 1, argues that "it is pretty well impossible that reported miracles should provide a worthwhile argument for theism addressed to those who are initially inclined to atheism or even to agnosticism." I argue that Mackie fails to establish this conclusion. All that he can show is that those who are initially inclined to theism or agnosticism may be justified in predicting that the next miracle report they examine will not (...) be such as to form the basis for a worthwhile argument for theism. (shrink)

In his absorbing book Art as Performance, David Davies argues that artworks should be identified, not with artistic products such as paintings or novels, but instead with the artistic actions or processes that produced such items. Such a view had an earlier incarnation in Currie’s widely criticized “action type hypothesis”, but Davies argues that it is instead action tokens rather than types with which artworks should be identified. This rich and complex work repays the closest study in spite of some (...) basic objections to be raised concerning Davies’s central concept of an action token. (shrink)

The property theory of musical works is the view that identifies works of music with properties as universals. The purpose of this article is to distinguish different versions of the property theory and argue that none of them can satisfy certain demands we expect from a successful theory of musical works. I conclude that although properties as universals are familiar and useful in other domains, we cannot rely on them to explain the ontological nature of musical works.

Realism about types is the view that types are abstract and repeatable objects. Although type realists seem to agree that types, unlike properties, are objects in their own right, they argue that there is a metaphysically intimate tie between the existence conditions of types and properties. In particular, most type realists believe that types are, in a certain sense, determined by the properties that underlie them. I argue that this is a mistake, especially for those type realists who believe that (...) social and cultural types such as works of music and fiction or words are artifacts. I offer an alternative version of type realism where social and cultural types are dependent objects that should be understood in analogy with concrete artifacts. (shrink)

In the last twenty years, a large number of studies have investigated judgments of the identity of various objects (e.g., persons, material objects, institutions) over time. One influential strand of research has found that identity judgments are shaped by normative considerations. People tend to believe that moral improvement is more compatible with the continuity of identity of a person than moral deterioration, suggesting that persons are taken to be essentially morally good. This asymmetry is often referred to as the “Phineas (...) Gage effect”. However, normativity extends beyond morality. In particular, it is unknown whether changes in aesthetic value have a similar impact on identity judgments. We investigate whether works of art would be analogously seen as essentially aesthetically valuable. We ran four studies (N=1264) to explore whether aesthetic considerations have a similar influence on judgments of the identity of artworks. We presented the participants with stories describing either a painting or a musical work which undergoes changes and becomes either more or less aesthetically valuable. Overall, we found only mixed evidence for the Phineas Gage effect in relation to the aesthetic value of artworks. Other factors, such as moral value, seem to have a bigger impact on judgments of persistence. (shrink)

Luis de Lille es conocido por ser uno de los primeros vocalistas e intérpretes de un anime japonés de éxito mundial llamado Dragon Ball. En la entrevista que le realicé, le planteé unas preguntas que estaban relacionadas con el universo musical de esta serie animada. Sus respuestas consolidan un panorama sobre los requisitos indispensables para obtener un buen resultado en las adaptaciones y las interpretaciones que se hacen de las canciones que están en otros idiomas distintos del español. La experiencia (...) profesional que ha tenido en estudios de grabación y como músico perteneciente a bandas y grupos ha servido de base para explicar con pormenores esos componentes esenciales que deben estar incorporados en las canciones, tales como el respeto a la letra, la métrica, la melodía y la intensión. Para finiquitar, el cantante brinda una apreciación en torno a los fenómenos musicales que están surgiendo a partir del confinamiento, tales como la aparición curiosa de los fandubers y la realización de diferentes covers de la serie animada japonesa. (shrink)

I suoni e le immagini sembrano appartenere a due forme dell’esperienza profondamente distinte. Due registri sensoriali antitetici cui corrispondono due fenomeni accostabili, ma mai completamente unibili. Eppure si ricorre spesso all’espressione immagine sonora, che cosa si intende precisamente? Esiste un punto in cui i suoni e le immagini si appartengono reciprocamente? Può un’immagine risuonare e un suono essere anche un’immagine? Il testo cerca di rispondere a questi quesiti scavando e intarsiando una concettualizzazione dell’immagine sonora attraverso un dialogo con la semiotica, (...) la fenomenologia e la filosofia dell’arte. Arricchendosi di una riflessione sul rapporto con il pensiero, l’indagine sull’immagine sonora si declina in tre momenti distinti: il suono con un fondamento d’immagine in cui l’elemento fondante è dato dalla presenza dell’immagine nel suono; il suono e l’immagine che si equivalgono orizzontalmente fondendosi l’uno con l’altra; l’immagine con un fondamento sonoro, in cui si rintracciano presenze sonore nell’immagine visiva. (shrink)

Presented at Philosophy Across Disciplines Conference 2021, Newcastle University. -/- As noted by philosopher Robert Pasnau, “our standard view of sound is incoherent” at best. A quick perusal of how we discuss and represent sound in our day-to-day language readily highlights a number of inconsistencies. Sound might be described roughly as emanating from the location of its material source (the ‘crack of the snare drum over there’ distal theory), as a disruption somewhere in the space in-between the sounding object and (...) the listener (the ‘longitudinal compression waves in the air’ medial theory), located with the hearer (the ‘inner sensations’ proximal theory), or perhaps as devoid of spatial characteristics at all (aspatial theory). Beyond these topographic ruminations on the location of sounds, even deeper disagreements arise around just what sorts of things sounds are. A broad array of theories treat sounds as events, as object-like particulars that travel through space, as properties of their sounding objects, etc.—with many subtle ontological variations springing up along the way. The philosophical plot further thickens as we expand from defining the ontology and spatial position of simple primary sounds through to the phenomenon of echoes, with certain theories arguably faring better than others. We’ll focus here on Casey O’Callaghan’s formulation of sounds as disturbance events which bind primary sounds and their echoes together as one. In short, the claim that echoes are identical to their associated primary sound and are not distinct sounds in their own right. Described as the ‘Primary Sound Account of Echoes’ (‘PSAE’) in Gregory Fowler’s “Against the Primary Sound Account of Echoes,” the intricacies of this particular aspect of O’Callaghan’s theory of a primary sound’s connection to its echo bears greatly upon the workability of distal theories of sound in general. What I seek to achieve in this presentation is to illustrate how O’Callaghan’s PSAE fails when subjected to increased scrutiny across a broader range of echo scenarios, which in turn presents a significant issue for proponents of distal theories of sound. (shrink)

This essay examines the music of Radiohead as a means of introducing various elementary concepts and theories in the philosophy of music.

Musical works change. Bruckner revised his Eighth Symphony. Ella Fitzgerald and many other artists have made it acceptable to sing the jazz standard “All the Things You Are” without its original verse. If we accept that musical works genuinely change in these ways, a puzzle arises: why can’t I change Bruckner’s Eighth Symphony? More generally, why are some individuals in a privileged position when it comes to changing musical works and other artifacts, such as novels, films, and games? I give (...) a view of musical works that helps to answer these questions. Musical works, on this view, are created abstract objects with no parts. The paradigmatic changes that musical works undergo are socially determined normative changes in how they should be performed. Due to contingent social practices, Bruckner, but not I, can change how his symphony should be performed. Were social practices radically different, I would be able to change his symphony. This view extends to abstract artifacts beyond music, including novels, films, words, games, and corporations. (shrink)

The issue of musical identity—of what defines works of music, gives each its unique character and distinguishes them from one another—is one of the central issues in the philosophy of music. Too often in the philosophical literature it is approached as a purely theoretical question, one that can be answered adequately through careful intellectual consideration of scores and performances. The typical philosophical approach to the performance of Western art music, particularly that composed between the Baroque and Romantic eras, is to (...) offer descriptions of how musical works come into being, what their origins may be, which of their structural and aesthetic elements must be observed and conserved in their representations, and so on. It takes the written notation of a musical work, the score, to be a kind of blueprint created by a composer, defining and describing an autonomous musical entity, the musical work, such that another person might perform it. The work is recognized paradoxically as something existing independently of, yet deriving its identity from, its origins with the composer. (shrink)

Many philosophers and music theorists have claimed that music is a language, though whether this is meant metaphorically or literally is often unclear. If the claim is meant literally, then it faces serious difficulty—many find it compelling to think that music cannot be a language because it lacks any semantic value. On the other hand, if it is meant metaphorically, then it is not clear what is gained by the metaphor—it is not clear what the metaphor is meant to illuminate. (...) Considering the claim as a metaphor, I take it that what a theorist who speaks in this way is trying to draw our attention to is that there are interesting and illuminating parallels between music and language that might be philosophicallysignificant. Ifthisistheirpoint,thenthequestionis:whatinteresting parallel is it that could be so philosophically significant? (shrink)

The claim that music is language may be oft repeated, but it remains wholly unenlightening unless a sufficient explanation of one of these terms has already been given. On the face of it, music is entirely dissimilar to natural language, at least when conceived functionally, the one being categorised primarily as an aesthetic object, the other first and foremost as a means of communication.

This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of mass consumer but also the ghostly time-space of music in the broadcast world. A brief allusion to Rilke complements (...) a similarly brief reference to Jankelevitch’s “ineffable.”. (shrink)

”Hvad er musik?” lyder et gammelt og godt spørgsmål, og svaret udformes i reglen som en redegørelse for, hvordan musik lyder. Med modernismen (Ligeti, Stockhausen, etc.). har vi imidlertid gjort den erfaring, at musikken kan forblive musik, selv når den er uden melodi, uden metrisk puls etc. Men hvis der ingen grænser er for, hvordan musik- ken kan lyde, kan vi heller ikke afgrænse – definere – musikken ved at henvise til, hvordan den lyder. Vi må, mener jeg, snarere tage (...) udgangspunkt i den særlige måde, vi sanseligt indstiller os på lyden – ”omgås” den – når vi hører den som musik. (shrink)

I explain a tension between musical creationism (the view that musical works are abstract artifacts) and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an instance (...) of a general problem raised by artifacts, both abstract and concrete. I argue that on at least one defensible account of music the tension is especially problematic for abstracta. I focus on musical works, but much of the paper straightforwardly applies to other kinds of abstract artifacts. (shrink)

Gracyk, Kania, and Davies all agree that the rock tradition is distinctive for the central place that it gives to the appreciation of recorded tracks. But we should not be led by those arguments to conclude that the central position of the recorded track makes such appreciation the exclusive interest in rock. I argue that both songwriting and live performance are also central to the rock tradition by showing that the practice of recording tracks admits of a diversity of goals (...) and aims that is not exhausted by a concern for track construction. (shrink)

The paper deals with the question whether musical works are created or discovered. In the preliminaries some ontological presuppositions concerning the nature of a musical work setting the stage for the whole debate and the Creationist and Platonist views are discussed. The psychological concepts of creation and discovery are distinguished from their ontological counterparts and it turns out that only the ontological ones are relevant in this context and that the Creationist arguments fail to prove the point in question. Finally (...) it is argued that there is not necessaryly a conflict between the positions of the creationist and the Platonist, if they are construed in an appropriate way. The Creationist view that to compose is to create and the Platonist that to compose is to discover are compatible, at least if creation is understood in a quite natural and common sense way. (shrink)

Este artigo aborda as principais teorias sobre a natureza metafísica das obras de arte, cobrindo as propostas eliminativistas, monistas e pluralistas. Entre estas últimas, é dado destaque ao trabalho sobre a ontologia das artes performativas, e em particular, da música. Termina-se com uma referência à recente viragem da discussão para o campo da meta-ontologia e a polémica sobre a plausibilidade do revisionismo ontológico no caso de artefactos ou objectos sociais.

Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key aspects of his (...) philosophical hermeneutics, we are able to better assess the viability of Gadamer’s contributions to contemporary discussions of difference and alterity. -/- Sections two through six focus on key concepts in Gadamer’s account of art’s dynamic ontology and our experience of art. Such concepts include the play structure of art, hermeneutic identity, tarrying with a work, and contemporaneity. The opening sections provide not only a discussion of these central themes, but they also (1) draw attention to the various ways in which difference and otherness are integral to Gadamer’s account, and (2) utilize relevant musical examples that prepare the reader for a more focused discussion of a Gadamerian approach to free jazz in section seven. By highlighting how Gadamer’s understanding of art possesses a dialogical play structure, is characterized by identity and difference, requires actively engaged spectators and auditors, and is amenable to what many criticize as an unintelligible musical expression, viz. free jazz, Gadamer’s project is shown as other-affirming and open to ambiguity and dynamism. That is, the essential structures and concepts characterizing Gadamer’s reflections on art are likewise central to his overall hermeneutical project, and hence are not rightly described as un-attuned to difference or other-negating. Rather, Gadamer’s philosophical project upholds difference, since it requires a dialogical interplay between self and other that creates the possibility for a transformative experience. (shrink)

In this paper I offer critical attention to the notion of atmosphere in relation to music. By exploring the concept through the case study of the Closed Brethren worship services, I argue that atmosphere may provide analytical tools to explore the ineffable in ecclesial practices. Music, just as atmosphere, commonly occupies a realm of ineffability and undermines notions such as inside and outside, subject and object. For this reason I present music as a means of knowing the atmosphere. The first (...) part of this paper points to the limits of an understanding of atmosphere as a constellation of things, as proposed by Gernot Böhme. In contrast to this, Hermann Schmitz conceptualises atmosphere as half-thing which suggests movement. Drawing on this, I propose to methodologically approach atmospheres as movements. Consequently, in the second part of this paper I closely analyse two motions as they cohere in Closed Brethren worship services: first, becoming (Deleuze and Guattari), a movement on the level of the individual worshiper; secondly, territorialisation (Deleuze and Guattari), a movement of the atmosphere towards its solidification. Here music as atmosphere is not a system of moral signification but a generative power affording intimate processes of divine encounter, whilst producing affective denominational difference. (shrink)