Every Performance Is a Stage: Musical Stage Theory as a Novel Account for the Ontology of Musical Works

Moruzzi, Caterina

doi:10.1111/jaac.12579

Cited by 14 publications

(3 citation statements)

References 20 publications

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“…[10]. To carry out visual teaching in music class, it's necessary to ensure that students can participate in the whole process autonomously, this is very helpful for learners to have a cognition of the learning content, thereby obtaining a better sense of self-efficacy [11,12]. The visual teaching of music class also needs to take into account the interactivity of visual teaching, so that the teacher could communicate with students closer and make the music teaching activities more vivid and attractive [13].…”

Section: Introductionmentioning

confidence: 99%

Application of the Theory of Brainstorming in Visual Teaching of Music

Lin

2021

Int. J. Emerg. Technol. Learn.

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Visual teaching is a teaching method or teaching tool that presents a clearer and more intuitive image of music works to students. Drawing on the theory of brainstorming, this paper explores the application of brainstorming, a brain stimulation method, in visual teaching of music. The main results are as follows: visual music teaching mainly improves music skills, cultivates music aesthetics, and enhances communicative competence. Once introduced to music class, the creative thinking method of brainstorming enables the teacher to train the divergent and creative thinking of students. During music teaching, brainstorming stimulates the learning interest, boosts the learning confidence, and cultivates the independent thinking of students. The research findings lay a theoretical basis for music course reform.

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Section: Introductionmentioning

confidence: 99%

Application of the Theory of Brainstorming in Visual Teaching of Music

Lin

2021

Int. J. Emerg. Technol. Learn.

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“…6 6 Moruzzi (2018), alternatively, accepts that works cannot exist without being performed. On her materialist view musical works are identical to individual performances. …”

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confidence: 99%

Creating abstract objects

Friedell

2021

Philosophy Compass

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Beach's Gaelic Symphony is plausibly an abstract object that Beach created. The view that people create some abstract objects is called abstract creationism. There are abstract creationists about many kinds of objects, including musical works, fictional characters, arguments, words, internet memes, installation artworks, bitcoins, and restaurants. Alternative theories include materialism and Platonism. This paper discusses some of the most serious objections against abstract creationism. Arguably, these objections have ramifications for questions in metaphysics pertaining to the abstract/concrete distinction, time, causation, vague existence, vague identity, and inadvertent creation.

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“…For example, Nemesio Garcia-Carril Puy (2020) classifies Levinson's initiated types as one version of Musical Aristotelianism, whereas on my classification Levinson is a Musical Platonist. Most philosophers in this debate label Levinson's view as one version of Platonism.4 For a stage-theoretic perdurantist view, see(Moruzzi 2018), wherein it is argued that musical works are individual performances.5 In this paper, I focus on realist theories about musical works. This is partly due to space but also because realism is the common trend in analytic philosophy.…”

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confidence: 99%

Musical Works as Structural Universals

Fisher

2021

Erkenn

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In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory (hereafter Musical Aristotelianism) is an attractive and serviceable hypothesis. However, it is overlooked as a genuine competitor to the more well-known theories of Musical Platonism and nominalism. Worse still, there is no detailed account in the literature of the nature of the universals that the Aristotelian identifies musical works with. In this paper, I argue that the best version of Musical Aristotelianism identifies musical works with structural universals. I first motivate the view by outlining its explanatory benefits. I then argue that Musical Aristotelianism is preferable to Musical Platonism and present a novel account of musical works as structural universals by developing D.M. Armstrong's theory of structural universals. I discuss the consequences of Musical Aristotelianism with respect to on-going issues in debates about musical works and defend the view against an influential objection, concluding that Musical Aristotelianism is a genuine competitor in debates about the nature of musical works. a work of music is a token of some type. The main disagreement among Musical Platonists concerns the nature of types -whether musical works are eternal types (Dodd 2000) or creatable indicated types (Howell 2002;Trivedi 2002;Walters 2013). Let us call the former view extreme Musical Platonism and the latter moderate Musical Platonism.Musical Platonism has a broader meaning than this type-theoretic interpretation. A Musical Platonist could identify musical works with a Platonic entity that is not a type. They might say a musical work is a Platonic universal. On this Platonic variant, musical works are not types. The relevant contrast, then, between Musical Platonism and Musical Aristotelianism is that musical works, according to the Platonist, are transcendental in the sense that an entity lacks spatial location, is eternal, acausal, or immutable, etc, whereas the Aristotelian says that musical works are immanent. 3 The Musical nominalist provides an account of musical works without positing Platonic types or universals (whether transcendental or immanent). Traditionally, Musical nominalism was understood as the view that musical works are classes of performances (in the same way the nominalist more generally says a property is a class of individuals). More recently, Musical nominalism has taken on a more materialist flavour, without any reference to classes. Ben Caplan and Carl Matheson (2004) have suggested that musical works are mereological fusions of performances and (perhaps) the score, score-copies, recordings, and the compositional activity of the composer; they have styled this theory as a form of perdurantism (Caplan & Matheson 2006). 4 Chris Tillman (2011) has argued that musical works are multiply locatable concrete objects such that a musical work is wholly located at its manifestations; the work coincides with its manifestations. The relevant cont...

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Every Performance Is a Stage: Musical Stage Theory as a Novel Account for the Ontology of Musical Works

Cited by 14 publications

References 20 publications

Application of the Theory of Brainstorming in Visual Teaching of Music

Application of the Theory of Brainstorming in Visual Teaching of Music

Creating abstract objects

Musical Works as Structural Universals

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