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Evaluating Musical Performance

Jerrold Levinson

The Journal of Aesthetic Education 21 (1):75 (1987)

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Performing Works of Music Authentically.Julian Dodd - 2012 - European Journal of Philosophy 23 (3):485-508.details This paper argues that, within the Western ‘classical’ tradition of performing works of music, there exists a performance value of authenticity that is distinct from that of complying with the instructions encoded in the work's score. This kind of authenticity—interpretive authenticity—is a matter of a performance's displaying an understanding of the performed work. In the course of explaining the nature of this norm, two further claims are defended: that the respective values of interpretive authenticity and score compliance can come into (...) Download Export citation Bookmark 17 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
The Heart of Classical Work-Performance.Andrew Kania - 2022 - British Journal of Aesthetics 62 (1):125-141.details In this critical study of Julian Dodd’s Being True to Works of Music, I argue that the three-tier normative profile of the work-performance tradition in classical music that Dodd defends should be rejected in favour of a two-tier version. I also argue that the theory of work-performance defended in the book fits much more naturally with a contextualist ontology of musical works than with the Platonist ontology Dodd defends in Works of Music, despite his arguments to the contrary in the (...) Download Export citation Bookmark 4 citations
Making tracks: The ontology of rock music.Andrew Kania - 2006 - Journal of Aesthetics and Art Criticism 64 (4):401–414.details I argue that the work of art in rock music is a track constructed in the studio, that tracks usually manifest songs, which can be performed live, and that a cover version is a track (successfully) intended to manifest the same song as some other track. This ontology reflects the way informed audiences talk about rock. It recognizes not only the centrality of recorded tracks to the tradition, as discussed by Theodore Gracyk, but also the value accorded to live performance (...) Download Export citation Bookmark 29 citations
A twist on the historically authentic musical performance.Nemesio G. C. Puy - 2024 - Philosophical Studies 181 (10).details According to the mainstream view in the philosophy of music, the only way to authentically perform works of past centuries is according to the ideal of Historically Authentic Performance (HAP). This paper aims to show that, despite recent defences of the mainstream view, it lacks motivation, and hence should be abandoned or revised. As we shall see, first, there is no plausible account of HAP as a final and intrinsic value consistent with the work-focused teleology of work-performance. Second, a plausible (...) Download Export citation Bookmark
Relativo ma non troppo: de novo a favor da Objectividade na Execução Musical.António Lopes - 2012 - Disputatio 4 (34):739-753.details The paper offers some arguments in favour of the view that there are aesthetic properties of performances of works of Western classical music that always count as good-making features of such performances. Download Export citation Bookmark

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