Ontology of Art

Rohrbaugh, Guy

doi:10.4324/9780203390795_chapter_19

“…There are a bewildering number ontological accounts of musical works, and they have been extensively discussed and critiqued in the philosophy of music literature before (see e.g. Kivy 2002;Rohrbaugh 2005;Dodd 2007Dodd , 2008Livingston 2011;Kania 2012b). So it is not my intention to be exhaustive or excessively detailed in covering well-trodden, familiar ground.…”

Section: Ontology Of Musical Work: State Of Playmentioning

confidence: 99%

“…(Davies 2004) Musical works are historical individuals. (Rohrbaugh 2003(Rohrbaugh , 2005 Musical works are abstract artefacts, like laws of state, marriages, or contracts. (Thomasson 2006(Thomasson , 2015 Musical works are mental entities (ideas or representations): mental objects or mental experiences.…”

Section: Ontology Of Musical Work: State Of Playmentioning

confidence: 99%

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Fictionalism about musical works

Killin

¹

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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“…In this section I survey the leading ontological accounts of musical works. There are a bewildering number of accounts on offer, and they have been extensively discussed and critiqued in the philosophy of music literature before (see e.g., Kania 2012b; Dodd 2007Dodd , 2008Kivy 2002;Livingston 2011;Rohrbaugh 2005). So it is not my intention to be exhaustive or excessively detailed in covering well-trodden, familiar ground.…”

Section: Ontological Accounts Of Musical Workmentioning

confidence: 99%

Music and philosophical naturalism

Killin¹

0

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<p>The philosophical and scientific explication of music is a cutting-edge field in contemporary academia. This thesis develops a naturalistic framework for theorising about music. The following novel philosophical positions are motivated and defended: a polysemy analysis of “sound”, conceptual pluralism about music, a pluralistic framework for approaching the science of music, and a fictionalist account of Western musical artworks. The adaptation/ by-product framework for couching discussion about the evolution of music is critiqued. A novel, co-evolutionary, niche construction model of the foundations of musicality and the origins, expansion and stabilisation of music is developed, couched in the general context of hominin evolution and prehistory. Conceptual and methodological reflection accompanies the evolutionary scenario developed.</p>

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“…In this section I survey the leading ontological accounts of musical works. There are a bewildering number of accounts on offer, and they have been extensively discussed and critiqued in the philosophy of music literature before (see e.g., Kania 2012b; Dodd 2007Dodd , 2008Kivy 2002;Livingston 2011;Rohrbaugh 2005). So it is not my intention to be exhaustive or excessively detailed in covering well-trodden, familiar ground.…”

Section: Ontological Accounts Of Musical Workmentioning

confidence: 99%

Music and philosophical naturalism

Killin¹

0

View full text Add to dashboard Cite

<p>The philosophical and scientific explication of music is a cutting-edge field in contemporary academia. This thesis develops a naturalistic framework for theorising about music. The following novel philosophical positions are motivated and defended: a polysemy analysis of “sound”, conceptual pluralism about music, a pluralistic framework for approaching the science of music, and a fictionalist account of Western musical artworks. The adaptation/ by-product framework for couching discussion about the evolution of music is critiqued. A novel, co-evolutionary, niche construction model of the foundations of musicality and the origins, expansion and stabilisation of music is developed, couched in the general context of hominin evolution and prehistory. Conceptual and methodological reflection accompanies the evolutionary scenario developed.</p>

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Ontology of Art

Cited by 4 publications

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Fictionalism about musical works

Fictionalism about musical works

Music and philosophical naturalism

Music and philosophical naturalism

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