In a recent essay in this journal, Ross Cameron presents a novel solution to the problem of musical creation. 1 The solution is of the ‘using a sledgehammer to crack a nut’ variety, since side by side with a dissolution of the problem of musical creation, his approach, if successful, would yield a swift answer to pretty much every central question in the ontology of art, and, for that matter, to a wide variety of perennial metaphysical difficulties. Nothing of this (...) magnitude should be nonchalantly swept aside. Unfortunately, Cameron's approach does not survive close scrutiny. (shrink)

This book is a defense of modal realism; the thesis that our world is but one of a plurality of worlds, and that the individuals that inhabit our world are only a few out of all the inhabitants of all the worlds. Lewis argues that the philosophical utility of modal realism is a good reason for believing that it is true.

In a recent essay in this journal, Ross Cameron presents a novel solution to the problem of musical creation.1 The solution is of the ‘using a sledgehammer to crack a nut’ variety, since side by side with a dissolution of the problem of musical creation, his approach, if successful, would yield a swift answer to pretty much every central question in the ontology of art, and, for that matter, to a wide variety of perennial metaphysical difficulties. Nothing of this magnitude (...) should be nonchalantly swept aside. Unfortunately, Cameron's approach does not survive close scrutiny. (shrink)

In , Peter van Inwagen asked a good question. (Asking the right question is often the hardest part.) He asked: what do you have to do to some objects to get them to compose something---to bring into existence some further thing made up of those objects? Glue them together or what?1 Some said that you don’t have to do anything.2 No matter what you do to the objects, they’ll always compose something further, no matter how they are arranged. Thus we (...) learned of the fusion of the coins in our pockets and the Eiffel tower. (shrink)

Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered -- (...) Types and patterns -- Defending the type/token theory I -- Unstructuredness and analogical predication -- Musical works as fixed and unchanging -- Abstractness and audibility (again) -- Works and interpretations -- Conclusion and resumé -- Defending the type/token theory II : musical platonism -- Platonism it is : replies to Anderson and Levinson -- The existence conditions of works of music -- Composition as creative discovery -- The nature of the compositional process : replies to objections -- Composition and aesthetic appraisal : a reply to Levinson -- Composition and aesthetic appraisal : understanding, interpretation, and correctness -- Musical works as continuants : a theory rejected -- A theory introduced -- Explicating and motivating the continuant view -- The continuant view and repeatability -- Further objections to the continuant view -- Musical works as compositional actions : a critique -- Currie's action-type hypothesis -- Davies's performance theory -- Sonicism I : against instrumentalism -- Sonicism introduced -- Sonicism motivated : moderate empiricism -- Instrumentation : timbral sonicism introduced -- Scores -- Instrumentation, artistic properties, and aesthetic content -- Levinson's rejoinder -- Sonicism II : against contextualism -- Introduction : formulating contextualism -- Contextualist ontological proposals -- Levinson's doppelgänger thought-experiments -- Artistic, representational, and object-directed expressive properties -- Aesthetic and non-object-directed expressive properties -- Conclusion : the place of context. (shrink)

There are two doctrines for which Quine is particularly well known: the doctrine of ontological commitment and the inscrutability thesis—the thesis that reference and quantification are inscrutable. At first glance, the two doctrines are squarely at odds. If there is no fact of the matter as to what our expressions refer to, then it would appear that no determinate commitments can be read off of our best theories. We argue here that the appearance of a clash between the two doctrines (...) is illusory. The reason that there is no real conflict is not simply that in determining our theories’ ontological commitments we naturally rely on our home language but also (and more importantly) that ontological commitment is not intimately tied to objectual quantification and a reference-first approach to language. Or so we will argue. We conclude with a new inscrutability argument which rests on the observation that the notion of objectual quantification, when properly cashed out, deflates. (shrink)

On the truthmaker view of ontological commitment [Heil (From an ontological point of view, 2003); Armstrong (Truth and truthmakers, 2004); Cameron (Philosophical Studies, 2008)], a theory is committed to the entities needed in the world for the theory to be made true. I argue that this view puts truthmaking to the wrong task. None of the leading accounts of truthmaking—via necessitation, supervenience, or grounding—can provide a viable measure of ontological commitment. But the grounding account does provide a needed constraint on (...) what is fundamental. So I conclude that truthmaker commitments are not a rival to quantifier commitments, but a needed complement. The quantifier commitments are what a theory says exists, while the truthmaker commitments are what a theory says is fundamental. (shrink)

Works of music do not appear to be concrete objects; but they do appear to be created by composers, and abstract objects do not seem to be the kind of things that can be created. In this paper I aim to develop an ontological position that lets us salvage the creativity intuition without either adopting an ontology of created abstracta or identifying musical works with concreta. I will argue that there are no musical works in our ontology, but nevertheless the (...) English sentences we want to hold true are literally true. I rely on a meta-ontological view whereby ‘a exists’ can be true without committing us to an entity that is a. This meta-ontological view is illustrated by its application to the familiar example of the statue and the clay. I argue that my account of musical ontology fares better on the balance of costs and benefits than its rivals. (shrink)

I propose a way of thinking aboout content, and a related way of thinking about ontological commitment. (This is part of a series of four closely related papers. The other three are ‘On Specifying Truth-Conditions’, ‘An Actualist’s Guide to Quantifying In’ and ‘An Account of Possibility’.).

What are the ontological commitments of a sentence? In this paper I offer an answer from the perspective of the truthmaker theorist that contrasts with the familiar Quinean criterion. I detail some of the benefits of thinking of things this way: they include making the composition debate tractable without appealing to a neo-Carnapian metaontology, making sense of neo-Fregeanism, and dispensing with some otherwise recalcitrant necessary connections.

I propose a way of thinking about content, and a related way of thinking about ontological commitment.