Against Recognizability as a Criterion of Work-Performance
Bibliographic Data
| ID | 4158883 |
|---|---|
| Authors | Aleksandra Kania (0000-0002-5584-5268, Trinity University, corresponding author) |
| Year | 2025 |
| Volume | 65 |
| Issue | 1 |
| Pages | 33-44 |
| Publication date | 2025-01-22 |
| 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/ayae013 |
| OpenAlex | W4406826097 |
| Language | EN |
| Citations received | 1 |
| References cited | 10 |
Over the past few decades, various philosophers of music have appealed to the notion of recognizability in their theories of the performance of works of Western classical music. In this paper, I attempt to clarify that notion and examine whether it can actually do the jobs it is called upon to execute. I begin with a discussion of Jerrold Levinson's appeal to (something like) work-recognizability as a criterion of successful work-performance and its influential uptake by Stephen Davies. I then attempt to clarify the notion of work-recognizability. I argue that the concept cannot do the task it is asked to in theories of work-performance, and that we should instead appeal to a robust notion of the intention to perform a work
Appeal · Cognitive psychology · Economics · Epistemology · Management · Political science · Task (project management · Work (physics · Computer Science · Emotions and Moral Behavior · Ethics, Aesthetics, and Art · Law · Musicology and Musical Analysis · Philosophy · Psychology
| Unique citing works | 1 |
|---|---|
| Citations per year | 1 |
| Citation span | 2026 - 2026 (1) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 1 |