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  1. The Aesthetics of Punk Rock.Jesse Prinz - 2014 - Philosophy Compass 9 (9):583-593.
    Philosophers should listen to punk rock. Though largely ignored in analytic aesthetics, punk can shed light on the nature, limits, and value of art. Here, I will begin with an overview of punk aesthetics and then extrapolate two lessons. First, punk intentionally violates widely held aesthetic norms, thus raising questions about the plasticity of taste. Second, punk music is associated with accompanying visual styles, fashion, and attitudes; this points to a relationship between art and identity. Together, these lessons suggest that (...)
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  • Musical recordings.Andrew Kania - 2009 - Philosophy Compass 4 (1):22-38.
    In this article, I first consider the metaphysics of musical recordings: their variety, repeatability, and transparency. I then turn to evaluative or aesthetic issues, such as the relative virtues of recordings and live performances, in light of the metaphysical discussion.
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  • Making tracks: The ontology of rock music.Andrew Kania - 2006 - Journal of Aesthetics and Art Criticism 64 (4):401–414.
    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 (...)
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  • Rhythm and Noise: An Aesthetics of Rock.John Fisher - 1999 - Journal of Aesthetics and Art Criticism 57 (4):467-469.
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  • A Case for Song: Against an (Exclusively) Recording-Centered Ontology of Rock.Franklin Bruno - 2013 - Journal of Aesthetics and Art Criticism 71 (1):65-74.
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