In this book the author treats art as an action performed by the artist as agent, rather than examining it from the point of view of its audience as ...

Julian Dodd has argued that the type–token theory in musical ontology has a ‘default’ status because it can explain the repeatability and audibility of musical works without the need for philosophical reinterpretation. I present two challenges to Dodd's claims about audibility. First, I argue (a) that a type–token theorist who, like Dodd, adheres to Wolterstorff's doctrine of analogical predication must grant that musical works themselves are hearable only in an ‘analogical’ sense; and (b) that alternative musical ontologies are able to (...) explain the latter just as well as the type–token theory. Second, I argue that Dodd cannot evade this objection by claiming that what matters in musical ontology is accounting for audibility ‘in a derivative sense’, since the latter also allows of explanation by a range of musical ontologies. (shrink)

RÉSUMÉLes œuvres musicales sont à la fois multiples et audibles. Dans le domaine de l'ontologie musicale, deux des principaux modèles conçus pour expliquer ces caractéristiques des œuvres musicales sont le modèle type/instanciation et le modèle étape/continuité. Julian Dodd a soutenu que le modèle type/instanciation a un avantage sur le modèle étape/continuité, car il peut offrir une explication directe de l'audibilité des œuvres musicales en termes de catégorie ontologique. Je défends le modèle étape/continuité contre l'argument de Dodd en invoquant une relation (...) de continuité qui unifie l’œuvre. (shrink)

The distinction between a type and its tokens is auseful metaphysical distinction. In §1 it is explained what itis, and what it is not. Its importance and wide applicability inlinguistics, philosophy, science and everyday life are brieflysurveyed in §2. Whether types are universals is discussed in§3. §4 discusses some other suggestions for what types are,both generally and specifically. Is a type the sets of its tokens?What exactly is a word, a symphony, a species? §5 asks what atoken is. §6 considers (...) the relation between types and theirtokens. Do the type and all its tokens share the same properties? Mustall the tokens be alike in some or all respects? §7 explains someproblems for the view that types exist, and some problems for the viewthat they don’t. §8 elucidates a distinction often confused withthe type-token distinction, that between a type and anoccurrence of it. It also discusses some problems thatoccurrences might be thought to give rise to, and one way to resolvethem. (shrink)

In this book, Linda Wetzel examines the distinction between types and tokens and argues that types exist (as abstract objects, since they lack a unique ...

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)

Richard Wollheim's classic reflection on art considers central questions regarding expression, representation, style, the significance of the artist's intention and the essentially historical nature of art. Presented in a fresh series livery for the twenty-first century, with a specially commissioned preface written by Richard Eldridge, illuminating its continuing importance and relevance to philosophical enquiry, Art and its Objects continues to be a perceptive and engaging introduction to the questions and philosophical issues raised by works of art and the part they (...) play in our culture and society. Wollheim's insights into theories of art, criticism, perception and the nature of aesthetic value make this one of the most influential works on aesthetics of the twentieth century. (shrink)