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.

Resumen: La civilización es un símbolo de la cultura, y sólo la educación musical con espíritu de civilización tiene el núcleo de la cultura. Para responder a las necesidades de la época y promover la reforma del sistema educativo, este estudio analiza la civilización oriental de “ritos y música” y la civilización occidental de “ética”. Se compararon las similitudes y diferencias entre ambas. Se constató que ambas afirman el valor moral-emocional-estético de la música, pero consideran diferente la naturaleza interna y (...) externa de su función. Se analizan los fundamentos filosóficos del sistema de educación musical en la sociedad moderna y se refleja el estado actual de la educación musical. Con el objetivo de abordar los problemas de la falta de subjetividad, la falta de comprensión y la falta de identidad musical en la educación musical, el estudio propone una vía innovadora para la educación musical moderna por la vía del retorno de las civilizaciones de los “ritos y la música” orientales y la “ética” occidental, es decir, reajustando las normas del comportamiento gramatical musical, penetrando en las connotaciones humanísticas y definiendo la posición de la subjetividad. (shrink)

According to Aesthetic Empiricism, only the features of artworks accessible by sensory perception can be aesthetically relevant. In other words, aesthetic properties supervene on perceptual properties. Although commonly accepted in early analytic aesthetics, Aesthetic Empiricism has been the target of a number of thought experiments popularized by Gombrich, Walton, and Levinson, purporting to show that perceptually indiscernible artworks may differ aesthetically. In particular, this literature exploits three kinds of differences among perceptually indiscernible artworks that may account for aesthetic differences: relative (...) to categories of art, historical provenance, or means of production. Like in all philosophical thought experiments, the reliability of the elicited intuitions remains an empirical question that we address here with the methods of experimental philosophy. Throughout three studies, we show that most people do not believe that non-perceptual properties can modulate our evaluation of an artwork’s beauty. However, intuitions were much more divided when considering expressive aesthetic properties (such as intensity), and even clearly reversed when considering artistic properties (such as originality or technical achievement). Overall, our studies show that the central intuitions elicited by the classical indiscernibility arguments strongly depend on the class of manipulated properties (expressive aesthetic properties vs formal aesthetic properties; aesthetic properties vs artistic properties) and are thus more suited to refute artistic empiricism than aesthetic empiricism, narrowly construed. (shrink)