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)

What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, and the implications (...) of the dominance of recorded over live music. (shrink)

Defense of a psychological account of what it is for an artwork to be complete.

This is the first comprehensive book-length introduction to the philosophy of Western music that fully integrates consideration of popular music and hybrid musical forms, especially song. Its author, Andrew Kania, begins by asking whether Bob Dylan should even have been eligible for the Nobel Prize in Literature, given that he is a musician. This motivates a discussion of music as an artistic medium, and what philosophy has to contribute to our thinking about music. Chapters 2-5 investigate the most commonly defended (...) sources of musical value: its emotional power, its form, and specifically musical features (such as pitch, rhythm, and harmony). In chapters 6-9, Kania explores issues arising from different musical practices, particularly work-performance (with a focus on classical music), improvisation (with a focus on jazz), and recording (with a focus on rock and pop). Chapter 10 examines the intersection of music and morality. The book ends with a consideration of what, ultimately, music is. (shrink)

Is ontologizing about art rightly held accountable to artistic practice, and, if so, how? Julian Dodd argues against such accountability. His target is “local descriptivism,” a meta-ontological principle that he contrasts with meta-ontological realism. The local descriptivist thinks that folk-theoretic beliefs implicit in our practices somehow determine the ontological characters of artworks. I argue, however, that according a grounding role to artistic practice in the ontology of art does not conflict with meta-ontological realism. Practice must ground our ontological inquiries because (...) our task is to make sense of the practices into which artworks enter. Terms like ‘musical work,’ as employed by the ontologist, play an essentially explanatory role in this endeavor, and it is only in terms of this role that we can specify the object of our ontological inquiries. But neither our practices nor our folk beliefs are sacrosanct. In taking ontology of art to be reflectively accountable to artistic practice, I also reject Amie Thomasson's claim that it involves conceptual analysis and therefore cannot rightly claim to be directly revisionary of folk understandings. Ontology of art involves not conceptual analysis but the codification of a practice in a way that clarifies that practice. (shrink)

Descriptivism in the ontology of art is the thesis that the correct ontological proposal for a kind of artwork cannot show the nascent ontological conception of such things embedded in our critical and appreciative practices to be substantially mistaken. Descriptivists believe that the kinds of revisionary art ontological proposals propounded by Nelson Goodman, Gregory Currie, Mark Sagoff, and me are methodologically misconceived. In this paper I examine the case that has been made for a local form of descriptivism in the (...) ontology of art: a form that does not quarrel with the possibility of revisionism in matters of ‘fundamental metaphysics’, but which argues that special features of the arts make descriptivism in this particular sphere obligatory. David Davies, Andrew Kania and Stephen Davies are local descriptivists in this sense. I argue that the burden of proof lies with the local descriptivist, but that this burden is too heavy for him to carry. Specifically, it emerges that the only way in which the local descriptivist can motivate his position is by arguing that our artistic practices determine the art ontological facts: a thesis that local descriptivists typically appeal to, but have not been able to argue for successfully. My conclusion is that the methodological debate in the ontology of art should now proceed by focussing on the case for global descriptivism: i.e. that form of descriptivism that opposes the possibility of revisionism in ontological matters across the board. (shrink)

Julian Dodd offers an original approach to the controversial concept of authenticity in musical performance. He argues that the fundamental norm is not historical authenticity but interpretive authenticity: being faithful to the work by evincing a profound, far-reaching, or sophisticated understanding of it.

This paper argues that, within the Western ‘classical’ tradition of performing works of music, there exists a performance value of authenticity that is distinct from that of complying with the instructions encoded in the work's score. This kind of authenticity—interpretive authenticity—is a matter of a performance's displaying an understanding of the performed work. In the course of explaining the nature of this norm, two further claims are defended: that the respective values of interpretive authenticity and score compliance can come into (...) conflict; and that when this happens, compromising ideal score compliance for the sake of making the performance more interpretively authentic can make for a better performance. (shrink)

_Interpretation and Construction _examines the interpretation and products of intentional human behavior, focusing primarily on issues in art, law, and everyday speech. Focuses on artistic interpretation, but also includes extended discussion of interpretation of the law and everyday speech and communication. Written by one of the leading theorists of interpretation. Theoretical discussions are consistently centered around examples for ease of comprehension.

In this chapter, I discuss the kinds of understanding expected of and evinced by skilled listeners, performers, analysts, and composers. I confine the discussion to Western, purely instrumental music, mainly with the classical tradition in mind.[1] And I refer primarily to the Anglophone literature of "analytic" philosophy of music. As will become apparent, my concern is with an analysis that maps what are meant to be familiar aspects of musical experience. I investigate the various understandings expected of an accomplished listener, (...) the performer, the music analyst, and the composer. (shrink)

When is an artwork complete? Most hold that the correct answer to this question is psychological in nature. A work is said to be complete just in case the artist regards it as complete or is appropriately disposed to act as if he or she did. Even though this view seems strongly supported by metaphysical, epistemological, and normative considerations, this article argues that such psychologism about completeness is mistaken, fundamentally, because it cannot make sense of the artist's own perspective on (...) his or her work. For the artist, the question is not about his or her own psychology, but about the character of the work and the context in which he or she works. A nonpsychological account of completeness, on which completeness is a question of whether the work satisfies the conditions implicit in the artist's plan, avoids this problem and is equally or better able to explain the metaphysical, epistemic, and normative phenomena which appeared to support psychologism. (shrink)

We present an analysis of work completion couched in terms of an effective completion decision identified by its characteristic contents and functions. In our proposal, the artist's completion decision can take a number of distinct forms, including a procedural variety referred to as an ‘extended completion decision’. In the second part of this essay, we address ourselves to the question of whether collaborative art-making projects stand as counterexamples to the proposed analysis of work completion.

A kind of musical authenticity Julian Dodd thinks has been neglected, interpretive authenticity, as he calls it, is intended to provide both an insightful and faithful understanding of the work. This kind of authenticity is distinguished from score compliance authenticity (a view I have defended) on grounds that an authentic musical interpretation can sometimes deliberately depart from the score. I argue that none of the four examples Dodd offers in favour of this hypothesis is uncontroversial. I have less faith than (...) Dodd in the ability of wholesale departures from the composer’s work specification to demonstrate performance insight or to be seen as unproblematically instancing all aspects of the work. (shrink)

There are a number of recent discussions on the question of when an artwork is complete. While it has been observed that a work might be complete in one way and not in another, the impact of this observation has been minimal. Discussion has been continued as if there is only one real sense of completion that matters. I argue that this is a mistake. Even if there were only one (or one most important) kind of completion, extant theories of (...) completion would be bad candidates for that one kind. The best explanation of the failure of extant theories is that there are many kinds of completion, many corresponding senses of “completion,” and no kind of artwork completion is objectively more important than any other. We have a good reason to think that this is the case given the disparate interests we have when we ask completion questions. Once we have realized that those concerns track properties that are often unrelated, the question for theorists to answer becomes, “In how many ways can an artwork be complete?”. (shrink)