A Return to Musical Idealism

Cray, Wesley D.; Matheson, Carl

doi:10.1080/00048402.2017.1281323

Cited by 12 publications

(11 citation statements)

References 39 publications

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“…(Thomasson 2006(Thomasson , 2015 Musical works are mental entities (ideas or representations): mental objects or mental experiences. (Collingwood 1938;Sartre 1940;Cox 1986;Cray and Matheson 2017) There are two general things to say about these accounts: these theories either (1) do not capture the target specified by the musical work concept -insofar as they describe anything at all, it is not what we are probing the world for, given our platitudes/implicit definition -or, (2) they point to a metaphysically dubious category. Debate continues about such categories (e.g.…”

Section: Ontology Of Musical Work: State Of Playmentioning

confidence: 99%

“…Musical works are mental entities (ideas or representations): mental objects or mental experiences. (Collingwood 1938; Sartre 1940; Cox 1986; Cray and Matheson 2017)…”

Section: Ontology Of Musical Work: State Of Playmentioning

confidence: 99%

“…Perhaps some of these theories capture something : perhaps the (Platonic) abstract structures of musical works, if such things exist, or their (Aristotelian) essences . Or perhaps some of these theories capture the generative act of musical works (Davies 2004), or the completed idea for a musical manifestation (Cray and Matheson 2017) – but to consider these things as musical works is to require unmotivated revision of the musical work concept under scrutiny.…”

Section: Ontology Of Musical Work: State Of Playmentioning

confidence: 99%

“…There is little consensus regarding this matter and debate continues unabated (see e.g. Kivy 2002;Rohrbaugh 2005;Dodd 2007Dodd , 2008Livingston 2011;Kania 2012b;Cray and Matheson 2017).…”

Section: Introduction: Classical Art Music and Ontological Theorisingmentioning

confidence: 99%

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Fictionalism about musical works

Killin

2018

Can. J. of Philosophy

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The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop a version of such an analysis in line with a broad commitment to philosophical naturalism.

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Section: Ontology Of Musical Work: State Of Playmentioning

confidence: 99%

“…Musical works are mental entities (ideas or representations): mental objects or mental experiences. (Collingwood 1938; Sartre 1940; Cox 1986; Cray and Matheson 2017)…”

Section: Ontology Of Musical Work: State Of Playmentioning

confidence: 99%

Section: Ontology Of Musical Work: State Of Playmentioning

confidence: 99%

“…There is little consensus regarding this matter and debate continues unabated (see e.g. Kivy 2002;Rohrbaugh 2005;Dodd 2007Dodd , 2008Livingston 2011;Kania 2012b;Cray and Matheson 2017).…”

Section: Introduction: Classical Art Music and Ontological Theorisingmentioning

confidence: 99%

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Fictionalism about musical works

Killin

2018

Can. J. of Philosophy

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“…and Morruzi (2018) offer materialist views of music Cox (1986),. as well asCray and Matheson (2017), propose that musical works are ideas Davies (2003). claims that musical works are actions.…”

mentioning

confidence: 99%

Why can’t I change Bruckner’s Eighth Symphony?

Friedell

2018

Philos Stud

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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.

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Ontology for Analytic Claims in Music

Sanfilippo¹,

Freedman

2022

New Trends in Database and Information Systems

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A Return to Musical Idealism

Cited by 12 publications

References 39 publications

Fictionalism about musical works

Fictionalism about musical works

Why can’t I change Bruckner’s Eighth Symphony?

Ontology for Analytic Claims in Music

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