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Multiplicity, Audibility, and Musical Continuity

Peter Alward

Dialogue 59 (1):101-121 (2020)

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(1 other version)Musical Ontology: Works, Versions, and Lineages.Peter Alward - 2024 - British Journal of Aesthetics 64 (4):445-459.details In this paper, I develop a novel account of musical works according which they are situated heir lines, consisting of actual and possible work-versions that are situated in specific musical-historical contexts. And I argue that this account offers a better explanation of three core phonenomena - musical multiplicity, musical flexibility, and musical audibility - than its competitors. Finally, I introduce the broader category of musical lineages - sequences of work-versions each of which has evolved in certain ways from its predecessors (...) Download Export citation Bookmark
How to Change an Artwork.David Friedell - forthcoming - In Alex King (ed.), Philosophy and Art: New Essays at the Intersection. Oxford University Press.details The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards and (...) Download Export citation Bookmark
The Audibility Problem and Indirect Listening.Wouter A. Cohen - 2024 - Australasian Journal of Philosophy 102 (1):147-158.details There is a strong intuition that we can listen to works of music, yet musical ontologies on which works of music are abstract objects, perhaps most notably, type theories of music, seem to imply that this is impossible. This problem has received relatively little attention in the literature. I here explore and develop a solution suggested by Julian Dodd and argue that it has at least two problematic consequences, namely (i) that some works of music cannot be listened to unless (...) Download Export citation Bookmark 1 citation
Nested Types and Musical Flexibility.Peter Alward - 2023 - Journal of Aesthetics and Art Criticism 81 (3):396-399.details Guy Rohrbaugh (2003) and Allan Hazlett (2012) have argued against the identification of musical works with sound-pattern types by arguing that musical works are. Download Export citation Bookmark 2 citations
Musical Types and Musical Flexibility.Peter Alward - 2023 - Acta Analytica 38 (2):355-369.details A central motivation for the type-token model of music works is its ability to explain musical multiplicity—the fact that musical works are capable of having multiple performances through which they can be experienced and which cannot be individually identified with the works themselves. The type-token model explains multiplicity by identifying musical works with structural types and taking performances to be tokens of those types. In this paper, I argue that musical works are flexible in ways which permit performances which are (...) Download Export citation Bookmark 1 citation

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