If musical works are abstract objects, which cannot enter into causal relations, then how can we refer to musical works or know anything about them? Worse, how can any of our musical experiences be experiences of musical works? It would be nice to be able to sidestep these questions altogether. One way to do that would be to take musical works to be concrete objects. In this paper, we defend a theory according to which musical works are concrete objects. In (...) particular, the theory that we defend takes musical works to be fusions of performances. We defend this view from a series of objections, the first two of which are raised by Julian Dodd in a recent paper and the last of which is suggested by some comments of his in an earlier paper. (shrink)

Little is known about the aetiology of philosophical intuitions, in spite of their central role in analytic philosophy. This paper provides a psychological account of the intuitions that underlie philosophical practice, with a focus on intuitions that underlie the method of cases. I argue that many philosophical intuitions originate from spontaneous, early-developing, cognitive processes that also play a role in other cognitive domains. Additionally, they have a skilled, practiced, component. Philosophers are expert elicitors of intuitions in the dialectical context of (...) professional philosophy. If this analysis is correct, this should lead to a reassessment of experimental philosophical studies of expertise. (shrink)

Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, (...) but for which the new song is in part about the original song. In order to allow for the very possibility of transformative and referential covers, we argue that a cover is characterized by relation to a canonical track rather than merely by being a new instance of a song that had been recorded previously. (shrink)

Bibliography of works in experimental philosophy.

In this paper we propose to argue for two claims. The first is that a sizeable group of epistemological projects – a group which includes much of what has been done in epistemology in the analytic tradition – would be seriously undermined if one or more of a cluster of empirical hypotheses about epistemic intuitions turns out to be true. The basis for this claim will be set out in Section 2. The second claim is that, while the jury is (...) still out, there is now a substantial body of evidence suggesting that some of those empirical hypotheses are true. Much of this evidence derives from an ongoing series of experimental studies of epistemic intuitions that we have been conducting. A preliminary report on these studies will be presented in Section 3. In light of these studies, we think it is incumbent on those who pursue the epistemological projects in question to either explain why the truth of the hypotheses does not undermine their projects, or to say why, in light of the evidence we will present, they nonetheless assume that the hypotheses are false. In Section 4, which is devoted to Objections and Replies, we’ll consider some of the ways in which defenders of the projects we are criticizing might reply to our challenge. Our goal, in all of this, is not to offer a conclusive argument demonstrating that the epistemological projects we will be criticizing are untenable. Rather, our aim is to shift the burden of argument. (shrink)

Can a musical work be created? Some say ‘no’. But, we argue, there is no handbook of universally accepted metaphysical truths that they can use to justify their answer. Others say ‘yes’. They have to find abstract objects that can plausibly be identified with musical works, show that abstract objects of this sort can be created, and show that such abstract objects can persist. But, we argue, none of the standard views about what a musical work is allows musical works (...) both to be created and to persist. (shrink)

Using empirical evidence to attack intuitions can be epistemically dangerous, because various of the complaints that one might raise against them (e.g., that they are fallible; that we possess no non-circular defense of their reliability) can be raised just as easily against perception itself. But the opponents of intuition wish to challenge intuitions without at the same time challenging the rest of our epistemic apparatus. How might this be done? Let us use the term “hopefulness” to refer to the extent (...) to which we possess a good capacity for the detection and correction of the errors of any fallible source of evidence. I argue that we should not trust putative sources of evidence that are substantially lacking in hopefulness (even if they are basically reliable), and that we are indeed already operating under such a norm in our ordinary and scientific practices. I argue further that the philosophical practice of the appeal to intuitions is, in these terms, badly hopeless... (shrink)

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 (...) skills, emphasized by Stephen Davies. (shrink)

A review of David Davies, _Art as Performance_ (Blackwell, 2004).

There’s a common assumption that Western classical music performance essentially involves an ideal of perfect compliance: to perform a musical work, the performer must intend to play all of the notes in the score of that work, without deviating. Many accounts of musical ontology focus on Western classical music; consequently, they take this assumption to be fundamental to their accounts. However, recent musicological research reveals that this ideal is a relatively recent phenomenon, and doesn’t fit much paradigmatic classical music. I (...) use this research to argue that philosophers of music should reject the common assumption. (shrink)