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Switch to: References
Citations of:
Unperformable Works and the Ontology of Music
British Journal of Aesthetics 56 (1):67-81 (2016)
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In disputes about the ontology of music, musical idealism—that is, the view that musical compositions are ideas—has proven to be rather unpopular. We argue that, once we have a better grip on the ontology of ideas, we can formulate a version of musical idealism that is not only defensible, but plausible and attractive. We conclude that compositions are a particular kind of idea: they are completed ideas for musical manifestation. |
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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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Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could (...) |
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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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I will argue that there are (at least) two species of musical silence, which cannot be distinguished by attending to how these silences sound. I term these two kinds of musical silence ‘capacious’ and ‘opaque’. Both capacious and opaque musical silences might occur in the midst of the ongoing production of sound or might exist in the complete absence of sound. Both kinds of silence can, in certain conditions, be sonically identical, but both are always received by the listening ear (...) |
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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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