, however, a number of musical ontologists have questioned this thesis by arguing in favor of a peculiar materialist view on the ontology of music—musical perdurantism. 5 The main idea behind this view is that musical works are a kind of material concreta, namely perduring mereological sums, or fusions
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James O. Young
A bewildering array of accounts of the ontology of musical works is available. Philosophers have held that works of music are sets of performances, abstract, eternal sound-event types, initiated types, compositional action types, compositional action tokens, ideas in a composer’s mind and continuants that perdure. This paper maintains that questions in the ontology of music are, in Rudolf Carnap’s sense of the term, pseudo-problems. That is, there is no alethic basis for choosing between rival musical ontologies. While we have no alethic basis for choosing any ontology of music, pragmatic reasons can be given for favoring certain ontologies of musical works over others.
Aubrey L. Glazer
: Leonard Cohen’s Post-Secular Songbook of Mysticism(s) Jewish and Beyond (Brighton, MA: Academic Studies Press, 2017). 87 Nietzsche, The Birth of Tragedy , 5. See also Christoph Cox, “Nietzsche, Dionysus, and the Ontology of Music,” in A Companion to Nietzsche , ed. Keith Ansell Pearson (London