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Phonography, repetition and spontaneity

Lee Brown

Philosophy and Literature 24 (1):111-125 (2000)

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Improvisation in the Arts.Aili Bresnahan - 2015 - Philosophy Compass 10 (9):573-582.details This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation of the arts (...) Download Export citation Bookmark 8 citations
Works, recordings, performances : classical, rock, jazz.Andrew Kania - 2008 - In Mine Doğantan (ed.), Recorded music: philosophical and critical reflections. London: Middlesex University Press.details In this paper I argue that the relations between musical works, performances, and recordings, are significantly different in the three traditions of Western classical, rock, and jazz music. In classical music the work of art – the enduring primary focus of critical attention – is a piece that receives various different performances. Classical recordings are best conceived of as giving the listener access to performances of works, or perhaps as performances in their own right. In rock, however, recordings are at (...) Download Export citation Bookmark 3 citations
Works and performances in the performing arts.David Davies - 2009 - Philosophy Compass 4 (5):744-755.details The primary purpose of the performing arts is to prepare and present 'artistic performances', performances that either are themselves the appreciative focuses of works of art or are instances of other things that are works of art. In the latter case, we have performances of what may be termed 'performed works', as is generally taken to be so with performances of classical music and traditional theatrical performances. In the former case, we have what may be termed 'performance-works', as, for example, (...) Download Export citation Bookmark 4 citations
Reflexive conditions on artistic intentions.Christopher Domhnall Mag Uidhir - unknowndetails Few dispute the descriptive necessity of intentions in art, little ground has been gained in virtue of such consensus. Intentions matter, but we must know not only which ones matter and why they matter but also the implications of their mattering for art theory writ large. I show that intentionality cannot be exhausted by mere appeals to deliberateness or bare artifactuality. I then argue that only reflexively governed intentions are necessary for art - artistic intentions are communicative intentions. Finally I (...) Download Export citation Bookmark
All Play and No Work: An Ontology of Jazz.Andrew Kania - 2011 - Journal of Aesthetics and Art Criticism 69 (4):391-403.details I argue for an ontology of jazz according to which it is a tradition of musical performances but no works of art. I proceed by rejecting three alternative proposals: (i) that jazz is a work performance tradition, (ii) that jazz performances are works of art in themselves, and (iii) that jazz recordings are works of art. I also note that the concept of a work of art involved (1) is nonevaluative, so to deny jazz works of art is not to (...) Download Export citation Bookmark 23 citations
Dance Seen and Dance‐Screened.David Davies - 2019 - Midwest Studies in Philosophy 44 (1):117-132.details Midwest Studies In Philosophy, EarlyView. Download Export citation Bookmark

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