In Defence of Higher-Order Musical Ontology
A Reply to Lee B. Brown
Bibliographic Data
| ID | 11514477 |
|---|---|
| Authors | A Kania (Trinity University, corresponding author) |
| Year | 2011 |
| Volume | 52 |
| Issue | 1 |
| Pages | 97-102 |
| Publication date | 2011-12-08 |
| Open Access | No |
| Type | ARTICLE |
| Venue | The British Journal of Aesthetics (JOURNAL) |
| Journal identifiers | ISSN: 0007-0904 • E-ISSN: 1468-2842 |
| Publisher | Oxford University Press (OUP) (PUBLISHER) |
| DOI | 10.1093/aesthj/ayr044 |
| OpenAlex | W2092533992 |
| Language | EN |
| Citations received | 1 |
In a recent article in this journal, Lee B. Brown criticizes one central kind of project in higher-order musical ontology—the project of offering an ontological theory of a particular musical tradition. I defend this kind of project by replying to Brown’s critique, arguing that musical practices are not untheorizably messy, and that a suitably subtle descriptivist ontology of a given practice can be valuable both theoretically and practically
Art · Business · Epistemology · Literature · Musical · Ontology · Order (exchange · Sociology · Music Technology and Sound Studies · Musicology and Musical Analysis · Neuroscience and Music Perception · Philosophy
| Citations per year | 0.25 |
|---|---|
| Citation span | 2022 - 2022 (1) |
| Highly cited | No |