Every Performance Is a Stage : Musical Stage Theory as a Novel Account for the Ontology of Musical Works
| Type of Publication: | Journal article |
| Publication status: | Published |
| Author: | Moruzzi, Caterina |
| Year of publication: | 2018 |
| Published in: | The Journal of Aesthetics and Art Criticism ; 76 (2018), 3. - pp. 341-351. - Oxford University Press (OUP). - ISSN 0021-8529. - eISSN 1540-6245 |
| DOI (citable link): | https://dx.doi.org/10.1111/jaac.12579 |
| Summary: |
This article 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.
|
| Subject (DDC): | 100 Philosophy |
| Refereed: | Yes |
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MORUZZI, Caterina, 2018. Every Performance Is a Stage : Musical Stage Theory as a Novel Account for the Ontology of Musical Works. In: The Journal of Aesthetics and Art Criticism. Oxford University Press (OUP). 76(3), pp. 341-351. ISSN 0021-8529. eISSN 1540-6245. Available under: doi: 10.1111/jaac.12579
@article{Moruzzi2018-08-01Every-52703, title={Every Performance Is a Stage : Musical Stage Theory as a Novel Account for the Ontology of Musical Works}, year={2018}, doi={10.1111/jaac.12579}, number={3}, volume={76}, issn={0021-8529}, journal={The Journal of Aesthetics and Art Criticism}, pages={341--351}, author={Moruzzi, Caterina} }
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Except where otherwise noted, this item's license is described as Attribution 4.0 International
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