Jazz, Mediation, Ontology

Bibliographic Data

ID4808052
AuthorsBrian Kane (0000-0002-2814-0801, corresponding author)
Year2018
Volume37
Issue5-6
Pages507-528
Publication date2018-11-02
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueContemporary Music Review (JOURNAL)
Journal identifiersISSN: 0749-4467 • E-ISSN: 1477-2256
PublisherInforma UK Limited (PUBLISHER • GB)
DOI10.1080/07494467.2017.1402466
OpenAlexW2774406575
LanguageEN
Citations received8
References cited21

While the ontology of musical works is a venerable theme in the philosophy of music, works of classical music have been the primary focus of study. This essay displaces that focus by considering the ontology of musical works in relation to jazz ‘standards’. Responding primarily to realist conceptions of musical works for performance, the essay outlines an emergent, non-essentialist, network-based ontology of jazz standards. By focusing on two key operations—replication and nomination—a philosophical and musicological argument is presented where ‘work-determinative’ properties are shown to be sufficient but not necessary. Under this concept, works are corrigible and subject to mediation. Not only do subsequent performances change the nature of the work, the very act of ‘replication’ (or musical reproduction) requires social mediation. After presenting the argument, a series of broad contrasts are drawn between the network-based concept of musical works and the realist view

Aesthetics · Art · Epistemology · Jazz · Linguistics · Literature · Mediation · Musical · Musical composition · Musical form · Ontology · Social science · Sociology · Visual arts · Media, Communication, and Education · Music Technology and Sound Studies · Musicology and Musical Analysis · Philosophy

Tools

Open DOISci-Hub