Musical Perdurantism and the Problem of Intermittent Existence

In: Grazer Philosophische Studien

Recently, a number of philosophers have defended a novel, materialist view on the nature of musical works—musical perdurantism. According to this view, musical works are a peculiar kind of concreta, namely perduring mereological sums of performances and/or other concrete entities. One problem facing musical perdurantism stems from the thought that if this view is correct, then virtually no musical work can exist in a continuous, non-intermittent fashion. The aim of this paper is to expound this problem and show that it cannot be plausibly solved by a musical perdurantist.

  • AlwardPeter 2004. “The Spoken Work.” Journal of Aesthetics and Art Criticism 62, 331–337.

  • Aristotle 1995. Aristotle’s Physics: A Guided Study. New Brunswick and London: Rutgers University Press.

  • CaplanBen and MathesonCarl 2004. “Can a Musical Work Be Created?” British Journal of Aesthetics 44, 113–134.

  • CaplanBen and MathesonCarl 2006. “Defending Musical Perdurantism.” British Journal of Aesthetics 46, 59–69.

  • CaplanBen and MathesonCarl 2008. “Defending ‘Defending Musical Perdurantism.’” British Journal of Aesthetics 48, 80–85.

  • CurrieGregory 1989. An Ontology of Art. New York: St. Martin’s Press.

  • DaviesDavid 2004. Art as Performance. Blackwell Publishing.

  • DaviesStephen 2001. Musical Works and Performances: A Philosophical Exploration. New York: Oxford University Press.

  • DoddJulian 2000. “Musical Works as Eternal Types.” British Journal of Aesthetics 40, 424–440.

  • DoddJulian 2004. “Types, Continuants, and the Ontology of Music.” British Journal of Aesthetics 44, 342–360.

  • DoddJulian 2012. “Defending the Discovery Model in the Ontology of Art: A Reply to Amie Thomasson on the Qua Problem.” British Journal of Aesthetics 52, 75–95.

    • Search Google Scholar
    • Export Citation
  • GoodmanNelson 1968. Languages of Art. Indianapolis: Bobbs-Merrill.

  • HawleyKatherine 2010. “Temporal Parts.” In: The Stanford Encyclopedia of Philosophy, edited by Edward N. Zalta. url = <http://plato.stanford.edu/archives/win2010/entries/temporal-parts/>.

    • Search Google Scholar
    • Export Citation
  • HazlettAllan 2013. “Against Repeatable Artworks.” In: Art and Abstract Objects, edited by Christy Mag Uidhir, Oxford: Oxford University Press, 161–178.

    • Search Google Scholar
    • Export Citation
  • KaniaAndrew 2008. “The Methodology of Musical Ontology: Descriptivism and its Implications.” British Journal of Aesthetics 48, 426–444.

    • Search Google Scholar
    • Export Citation
  • KaniaAndrew 2010. “The Philosophy of Music.” In: The Stanford Encyclopedia of Philosophy, edited by Edward N. Zalta. url = <http://plato.stanford.edu/archives/fall2010/entries/music/>.

    • Search Google Scholar
    • Export Citation
  • KleinschmidtShieva and RossJacob 2012. “Repeatable Artwork Sentences and Generics.” In: Art and Abstract Objects, edited by Christy Mag Uidhir, Oxford: Oxford University Press, 125–157.

    • Search Google Scholar
    • Export Citation
  • KivyPeter 1983. “Platonism in Music.” Grazer Philosophische Studien 19, 109–129.

  • LevinsonJerrold 1980. “What a Musical Work Is.” Journal of Philosophy 77, 5–28.

  • LewisDavid 1983. Philosophical Papers: Volume 1. New York: Oxford University Press.

  • Mag Uidhir, Christy 2013. Art and Art-Attempts. Oxford: Oxford University Press.

  • QuineW. V. O. 1948. “On What There Is.” Review of Metaphysics 2, 21–38.

  • RohrbaughGuy 2003. “Artworks as Historical Individuals.” European Journal of Philosophy 11, 177–211.

  • RohrbaughGuy 2013. “Must Ontological Pragmatism Be Self-Defeating?” In: Art and Abstract Objects, edited by Christy Mag Uidhir, Oxford: Oxford University Press, 29–48.

    • Search Google Scholar
    • Export Citation
  • RossbergMarcus 2013. “Destroying Artworks.” In: Art and Abstract Objects, edited by Christy

  • UidhirMag, Oxford: Oxford University Press, 62–83.

  • SteckerRobert 2009. “Methodological Questions about the Ontology of Music.” Journal of Aesthetics and Art Criticism 67, 375–386.

  • TillmanChris 2011. “Musical Materialism.” British Journal of Aesthetics 51, 13–29.

  • TillmanChris and SpencerJoshua 2012. “Musical Perdurantism and the Inheritance Problem.” Analysis 72, 252–259.

  • ThomassonAmie 2004. “The Ontology of Art.” In: The Blackwell Guide to Aesthetics, edited by Peter Kivy. Oxford: Blackwell Publishing, 78–92.

    • Search Google Scholar
    • Export Citation
  • ThomassonAmie 2005. “The Ontology of Art and Knowledge in Aesthetics.” Journal of Aesthetics and Art Criticism 63, 221–229.

  • VarziAchille 2015. “Mereology.” In: The Stanford Encyclopedia of Philosophy, edited by Edward N. Zalta. url = <http://plato.stanford.edu/archives/spr2015/entries/mereology/>.

    • Search Google Scholar
    • Export Citation
  • WollheimRichard 1968. Art and its Objects. New York: Harper & Row.

  • WolterstorffNicholas 1975. “Toward an Ontology of Art Works.” Noûs 9, 115–142.

  • ZemachEddy 1966. “The Ontological Status of Art Objects.” Journal of Aesthetics and Art Criticism 25, 145–153.

Content Metrics

All Time Past Year Past 30 Days
Abstract Views 127 105 10
Full Text Views 173 157 0
PDF Downloads 17 13 0