Multiplicity, Audibility, and Musical Continuity
Bibliographic Data
| ID | 3889414 |
|---|---|
| Authors | Peter Alward (0000-0003-2612-8582, University of Saskatchewan, corresponding author) |
| Year | 2020 |
| Volume | 59 |
| Issue | 1 |
| Pages | 101-121 |
| Publication date | 2020-03-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Dialogue (JOURNAL) |
| Journal identifiers | ISSN: 0012-2173 • E-ISSN: 1759-0949 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s0012217320000074 |
| OpenAlex | W3005573749 |
| Language | EN |
| Citations received | 1 |
| References cited | 21 |
Musical works are both multiple - they have a plurality of instances - and audible - they can be heard by listening to their instances. Two prominent approaches to musical ontology designed to explain these features of musical works are the type-token model and the continuant-stage model. Julian Dodd has argued that the type-token model has an advantage over the continuant-stage model because it can offer a direct explanation of the audibility of musical works in terms of their ontological category. In this paper, I defend the continuant-stage model against Dodd's argument by invoking a work-unifying continuity relation
Digital Humanities and Scholarship · Musicology and Musical Analysis · Philosophy and History of Science
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,5 |
| Citation span | 2024 - 2024 (1) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 1 |