Everyone Can Change a Musical Work
Bibliographic Data
| ID | 4157986 |
|---|---|
| Authors | Caterina Moruzzi (0000-0002-9728-3873, Caterina Moruzzi Universität Konstanz, Germany, corresponding author) |
| Year | 2022 |
| Volume | 62 |
| Issue | 1 |
| Pages | 1-13 |
| Publication date | 2022-01-22 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | The British Journal of Aesthetics (JOURNAL) |
| Journal identifiers | ISSN: 0007-0904 • E-ISSN: 1468-2842 |
| Publisher | Oxford University Press (PUBLISHER • GB) |
| DOI | 10.1093/aesthj/ayab003 |
| OpenAlex | W4213390712 |
| Language | EN |
| Citations received | 1 |
| References cited | 22 |
This paper explores how a new theory on the ontology of musical works, Musical Stage Theory, can address the problem of change in musical works. A natural consequence of the ontological framework of this theory is that musical works change intrinsically through a change in the sonic-structural properties of performances. From this a surprising consequence follows: everyone can change a musical work. Still, it seems that some changes matter more than others. The article offers a revisionary reply to this concern by arguing that normative change is not a change in the ontological nature of the work but rather in its authenticity conditions
Aesthetics · Art · Epistemology · Musical · Musical Development · Natural (archaeology · Normative · Ontology · Sociology · Visual arts · Work (physics · Computer Science · History · Musicology and Musical Analysis · Neuroscience and Music Perception · Philosophy · Philosophy and Theoretical Science
| Citation velocity | historical |
|---|---|
| Highly cited | No |