Intuitions on the Individuation of Musical Works. An Empirical Study

Bibliographic Data

ID4886031
AuthorsElzė Sigutė Mikalonytė (0000-0002-3047-7729, Vilnius University, corresponding author), Vilius Dranseika (0000-0002-1144-1624, Vilnius University)
Year2020
Volume60
Issue3
Pages253-282
Publication date2020-08-06
Open AccessYes
TypeARTICLE
VenueThe British Journal of Aesthetics (JOURNAL)
Journal identifiersISSN: 0007-0904 • E-ISSN: 1468-2842
PublisherOxford University Press (PUBLISHER • GB)
DOI10.1093/aesthj/ayz051
OpenAlexW3012640372
LanguageEN
Citations received7

Philosophers often consider better compliance with prevalent pre-theoretical intuitions to be an advantage of a theory of ontology of musical works. However, despite many predictions of what these intuitions on relevant questions might be, so far there is only one experimental philosophy study on the repeatability of musical works by Christopher Bartel. We decided to examine the intuitions concerning the individuation of musical works by creating scenarios reflecting the differences in the positions of musical ontologists: pure and timbral sonicism, instrumentalism, and contextualism. The results show that emotional expressivity, instrument, timbre, and images evoked in the listeners were not considered as properties individuating musical works. However, the musical works were held to be different if the composers were different. In most cases, the participants had clear intuitions. Pure sonicism, complemented with additional stress on significance of the composer's creativity, seems to be the most intuitive position

Aesthetics · Art · Cognitive psychology · Cognitive science · Epistemology · Individuation · Intentionality · Intuition · Literature · Musical · Musical composition · Psychoanalysis · Music Technology and Sound Studies · Musicology and Musical Analysis · Neuroscience and Music Perception · Philosophy · Psychology

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