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  1. Fictionalism About Musical Works.Anton Killin - 2018 - Canadian Journal of Philosophy 48 (2):266-291.
    The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop (...)
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  • Worlds Without End: A Platonist Theory of Fiction.Patrick Grafton-Cardwell - 2021 - Dissertation, University of Massachusetts, Amherst
    I first ask what it is to make up a story. In order to answer that question, I give existence and identity conditions for stories. I argue that a story exists whenever there is some narrative content that has intentionally been made accessible. I argue that stories are abstract types, individuated by the conditions that must be met by something in order to be a properly formed token of the type. However, I also argue that the truth of our story (...)
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  • Debugging the Case for Creationism.Patrick Grafton-Cardwell - 2019 - Philosophical Studies:1-19.
    Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...)
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  • Musical Works as Structural Universals.A. R. J. Fisher - forthcoming - Erkenntnis:1-23.
    In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory is an attractive and serviceable hypothesis. However, it is overlooked as a genuine competitor to the more well-known theories of Musical Platonism and nominalism. Worse still, there is no detailed account in the literature of the nature of the universals that the Aristotelian identifies musical works with. In this paper, I argue that the best version of Musical (...)
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  • Intuitions in the Ontology of Musical Works.Elzė Sigutė Mikalonytė - forthcoming - Review of Philosophy and Psychology:1-20.
    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 when judging theories. (...)
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  • Why Can’T I Change Bruckner’s Eighth Symphony?David Friedell - 2020 - Philosophical Studies 177 (3):805-824.
    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 (...)
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  • The Philosophy of Music.Andrew Kania - 2008 - Stanford Encyclopedia of Philosophy.
    This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.
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  • Ontologies for Information Entities: State of the Art and Open Challenges.Emilio M. Sanfilippo - 2021 - Applied ontology 16 (2):111-135.
    Information entities are used in ontologies to represent engineering technical specifications, health records, pictures or librarian data about, e.g., narrative fictions, among others. The literature in applied ontology lacks a comparison of the state of the art, and foundational questions on the nature of information entities remain open for research. The purpose of the paper is twofold. First, to compare existing ontologies with both each other and theories proposed in philosophy, semiotics, librarianship, and literary studies in order to understand how (...)
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  • Musical Materialism and the Inheritance Problem.Chris Tillman & J. Spencer - 2012 - Analysis 72 (2):252-259.
    Some hold that musical works are fusions of, or coincide with, their performances. But if performances contain wrong notes, won't works inherit that property? We say ‘no’.
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  • Debugging the Case for Creationism.Patrick Grafton-Cardwell - 2020 - Philosophical Studies 177 (11):3509-3527.
    Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...)
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  • Some Ideas About the Metaphysics of Stories.Wesley D. Cray - 2019 - British Journal of Aesthetics 59 (2):147-160.
    Aaron Smuts has argued that attempts to offer a plausible distinction between stories and tellings will likely face insurmountable difficulties. Here, I offer a distinction between stories and tellings that does not face these difficulties. In doing so, I propose an ontology of stories according to which such entities are ideas for narrative manifestation. In developing this ontology, I also consider parallels between stories and musical compositions.
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