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.

Musical works change. Bruckner revised his Eighth Symphony. Ella Fitzgerald and many other artists have made it acceptable to sing the jazz standard “All the Things You Are” without its original verse. If we accept that musical works genuinely change in these ways, a puzzle arises: why can’t I change Bruckner’s Eighth Symphony? More generally, why are some individuals in a privileged position when it comes to changing musical works and other artifacts, such as novels, films, and games? I give (...) a view of musical works that helps to answer these questions. Musical works, on this view, are created abstract objects with no parts. The paradigmatic changes that musical works undergo are socially determined normative changes in how they should be performed. Due to contingent social practices, Bruckner, but not I, can change how his symphony should be performed. Were social practices radically different, I would be able to change his symphony. This view extends to abstract artifacts beyond music, including novels, films, words, games, and corporations. (shrink)

This paper defends Musical Stage Theory as a novel account of the ontology of musical works. Its main claim is that a musical work is a performance. The significance of this argument is twofold. First, it demonstrates the availability of an alternative, and ontologically tenable, view to well-established positions in the current debate on musical metaphysics. Second, it shows how the revisionary approach of Musical Stage Theory actually provides a better account of the ontological status of musical works.

This is a study of the nature of time. In it, redeploying an argument first presented by McTaggart, the author argues that although time itself is real, tense is not. He accounts for the appearance of the reality of tense - our sense of the passage of time, and the fact that our experience occurs in the present - by showing how time is indispensable as a condition of action. Time itself is further analysed, and Dr Mellor gives answers to (...) most of the metaphysical questions it provokes, concerning the relation of time to space, the dissection of time, and its relation to change and causation. (shrink)

Four- Dimensionalism defends the thesis that the material world is composed of temporal as well as spatial parts. This defense includes a novel account of persistence over time, new arguments in favour of the four-dimensional ontology, and responses to the challenges four- dimensionalism faces." "Theodore Sider pays particular attention to the philosophy of time, including a strong series of arguments against presentism, the thesis that only the present is real. Arguments offered in favour of four- dimensionalism include novel arguments based (...) on time travel, the debate between spacetime substantivalists and relationalists, and vagueness. Also included is a comprehensive discussion of the paradoxes of coinciding material objects, and a novel resolution of those paradoxes based on temporal counterpart theory. In conclusion Sider replies to prominent objections to four- dimensionalism, including discussion of the problem of the rotating homogenous disk. (shrink)

Precis of my book by this title, for a symposium.

The Argument from Temporary Intrinsics is one of the canonical arguments against endurantism. I show that the two standard ways of presenting the argument have limited force. I then present a new version of the argument, which provides a more promising articulation of the underlying objection to endurantism. However, the premises of this argument conflict with the gauge theories of particle physics, and so this version of the argument is no more successful than its predecessors. I conclude that no version (...) of the Argument from Temporary Intrinsics gives us a compelling reason to favor one theory of persistence over another. (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)

"In his latest book on the aesthetics of music, Peter Kivy presents an argument not for authenticity but for authenticities of performance, including ...

According to four dimensionalism, the material world is divided into momentary stages. In a four-dimensional world, which objects are the ordinary things, the things we normally name and quantify over? Aggregates of stages, according to most four-dimensionalists, but according to stage theorists (or exdurantists), ordinary objects are instead to be identified with the stages themselves. (A temporal counterpart theoretic account of de re temporal predication is then given.) This paper argues that a stage theorist is best positioned to accept David (...) Lewis's argument from temporary intrinsics for four-dimensionalism, since stage theorists are the only four-dimensionalists who attribute monadic temporary intrinsic properties to ordinary things. (shrink)

This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.

In 1907, Alfred Stieglitz took what was to become one of his signature photographs, The Steerage. Stieglitz stood at the rear of the ocean liner Kaiser Wilhelm II and photographed the decks, first-class passengers above and steerage passengers below, carefully exposing the film to their reflected light. Later, in the darkroom, Stieglitz developed this film and made a number of prints from the resulting negative. The photograph is a familiar one, an enduring piece of social commentary, but what exactly is (...) The Steerage which Stieglitz has given us? It is clearer what The Steerage is not. It is distinct from each of its prints and from its negative. These may be dusty or torn without The Steerage being so, and any one of these could be destroyed without thereby destroying The Steerage itself. Nor is The Steerage the set of its prints. The set could not have had different members, while The Steerage could have had more, fewer, or different prints.1 Similar reasoning rules out the mereological sum of parts of its actual prints, for The Steerage’s prints might not have comprised just these parts. We are left with a puzzle, what sort of thing is a photograph? This puzzle is not unique to photography. Similar reasoning generates an analogous puzzle for any repeatable work of art. Novels, poems, plays, symphonies, songs, and the rest share an ontological predicament and create a 1 general puzzle concerning the ontological status of repeatable works of art. It is widely held that the puzzle has an equally general solution, one which I will argue fails for systematic reasons. Although my target here is the supposed solution to the general problem, photography will remain the central case under scrutiny. I offer it as a model for our thinking about the wider class in order to reap the benefits of thinking in terms of concrete cases. Although this risks a trade-off with the generality of my conclusions—there are important differences of detail between the cases—I hope it is clear that the considerations I appeal to in photography are not idiosyncratic but shared by the wider class.. (shrink)

Some philosophers believe that everyday objects are 4-dimensional spacetime worms, that a person (for example) persists through time by having temporal parts, or stages, at each moment of her existence. None of these stages is identical to the person herself; rather, she is the aggregate of all her temporal parts.1 Others accept “three dimensionalism”, rejecting stages in favor of the notion that persons “endure”, or are “wholly present” throughout their lives.2 I aim to defend an apparently radical third view: not (...) only do I accept person stages; I claim that we are stages.3 Likewise for other objects of our everyday ontology: statues are statue-stages, coins are coin-stages, etc. At one level, I accept the ontology of the worm view. I believe in spacetime worms, since I believe in temporal parts and aggregates of things I believe in. I.. (shrink)

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)

ACTION, EMOTION AND WILL "This a clear and persuasive book which contains as many sharp points as a thorn bush and an array of arguments that as neat and ...

Practices – specific, recurrent types of human action and activity – are perhaps the most fundamental "building blocks" of social reality. This book argues that the detailed empirical study of practices is essential to effective social-scientific inquiry. It develops a philosophical infrastructure for understanding human practices, and argues that practice theory should be the analytical centrepiece of social theory and the philosophy of the social sciences. -/- What would social scientists’ research look like if they took these insights seriously? To (...) answer this question, the book offers an analytical framework to guide empirical research on practices in different times and places. The author explores how practices can be identified, characterised and explained, how they function in concrete contexts and how they might change over time and space. -/- The Constitution of Social Practices lies at the intersection of philosophy, social theory, cultural theory and the social sciences. It is essential reading for scholars in social theory and the philosophy of social science, as well as the broad range of researchers and students across the social sciences and humanities whose work stands to benefit from serious consideration of practices. (shrink)

It is standardly assumed that there are three — and only three — ways to solve problem of temporary intrinsics: (a) embrace presentism, (b) relativize property possession to times, or (c) accept the doctrine of temporal parts. The first two solutions are favoured by endurantists, whereas the third is the perdurantist solution of choice. In this paper, I argue that there is a further type of solution available to endurantists, one that not only avoids the usual costs, but is structurally (...) identical to the temporal-parts solution preferred by perdurantists. In addition to providing a general characterization of this new type of solution, I discuss certain of its anticipations in the literature on bundle theory, as well as provide a detailed development of it in terms of my own preferred metaphysics of ordinary objects — namely, a distinctive form of substratum theory tracing to Aristotle. (shrink)

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)

Peter Geach and others suppose that change in an object's relational properties absent any change in its intrinsic properties is not a genuine change in that object but only a “mere Cambridge change.” I explain and reject two strategies challenging Geach's position. I then present my own argument against Geach which depends on the recognition of entities identified in terms of their emergent properties, i.e. properties not reducible to physical properties. I provide some examples of such entities and address the (...) problem of finding a criterion for distinguishing genuine from nonge‐nuine change. (shrink)

Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...) to be made in the first-order debate, second-order progress on the metaontology of art needs to come first. (shrink)

In this paper I defend a contextualist interpretation of authenticity in musical performance: we judge a performance as authentic not in respect of a stable set of requirements but according to contextually determined factors. This solution is the natural outcome of an independently supported ontological account of musical works: Musical Stage Theory. The aim of the paper is to give new momentum to the debate concerning the notion of authenticity and to challenge a monistic interpretation of authenticity: there is not (...) one authenticity but many. (shrink)