Spatial music

Abstract

Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation is an essential element of some musical works, too. I argue here that there is a further essential element of some musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the ontology of music. Hardcore formalists cannot allow for spatial music. I argue that two other views, which allow a close relationship between sounds and musical works, can allow for works of spatial music. However, their ability to do so turns on issues in the philosophy of sound. I appeal to work in the philosophy of sound to show that music is an art not just of hearing, but of sounds. Musical elements can be located just like sounds are located. | INTRODUCTIONEveryone agrees that musical works, qua musical works, require certain elements preserved in their performances-elements such as tone, harmony, and rhythm. For a performance to count as a performance of, say, Beethoven's seventh symphony, it needs to involve the faithful reproduction of these elements (Davies, 2001;