Abstract

This paper defends Musical Stage Theory as a novel account of the ontology of musical works. Its main claim is that a musical work is a performance. The significance of this argument is twofold. First, it demonstrates the availability of an alternative, and ontologically tenable, view to well-established positions in the current debate on musical metaphysics. Second, it shows how the revisionary approach of Musical Stage Theory actually provides a better account of the ontological status of musical works.

Highlights

  • This article defends Musical Stage Theory as a novel account of the ontology of musical works

  • In this and ambiguous cases, a term apparently devoted to designating a work of music seems to pick out a sound event in one case, but something else in another

  • The aim of this article is to challenge the concept of musical work that has been taken as a model by traditional ontological theories and to turn this focus on its head: the work we refer to with ‘Scarlatti’s Sonata in D minor’ is literally the sound event that occurred yesterday after Chopin’s Sonata in C minor

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Summary

Introduction

This article defends Musical Stage Theory as a novel account of the ontology of musical works.

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