A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

The debate on animal research has entered a new phase, involving a reevaluation of the moral status of animals, a detailed examination of the biological and philosophical meaning of animal pain and suffering, and a closer examination of the benefits of different types of knowledge. We need a clearer understanding of the ethical issues in animal research to provide the groundwork for public policy.

What is the self? The question has preoccupied people in many times and places, but nowhere more than in the modern West, where it has spawned debates that still resound today. In this 2005 book, Jerrold Seigel provides an original and penetrating narrative of how major Western European thinkers and writers have confronted the self since the time of Descartes, Leibniz, and Locke. From an approach that is at once theoretical and contextual, he examines the way figures in Britain, (...) France, and Germany have understood whether and how far individuals can achieve coherence and consistency in the face of the inner tensions and external pressures that threaten to divide or overwhelm them. He makes clear that recent 'postmodernist' accounts of the self belong firmly to the tradition of Western thinking they have sought to supersede, and provides an open-ended and persuasive alternative to claims that the modern self is typically egocentric or disengaged. (shrink)

Chomsky's criticism of Bloomfieldian structuralism's conception of linguistic reality applies equally to his own conception of linguistic reality. There are too many sentences in a natural language for them to have either concrete acoustic reality or concrete psychological or neural reality. Sentences have to be types, which, by Peirce's generally accepted definition, means that they are abstract objects. Given that sentences are abstract objects, Chomsky's generativism as well as his psychologism have to be given up. Langendoen and Postal's argument in (...) The Vastness of Natural Languages to show that there are more than denumerably many sentences is flawed. But, with the view that sentences are abstract objects, the flaws can be corrected. Once psychologism and generativism are abandoned, the revolution against Bloomfieldian structuralism can be brought to completion and linguistics can be put on a sound philosophical basis. (shrink)

In _Realistic Rationalism_, Jerrold J. Katz develops a new philosophical position integrating realism and rationalism. Realism here means that the objects of study in mathematics and other formal sciences are abstract; rationalism means that our knowledge of them is not empirical. Katz uses this position to meet the principal challenges to realism. In exposing the flaws in criticisms of the antirealists, he shows that realists can explain knowledge of abstract objects without supposing we have causal contact with them, that (...) numbers are determinate objects, and that the standard counterexamples to the abstract/concrete distinction have no force. Generalizing the account of knowledge used to meet the challenges to realism, he develops a rationalist and non-naturalist account of philosophical knowledge and argues that it is preferable to contemporary naturalist and empiricist accounts. The book illuminates a wide range of philosophical issues, including the nature of necessity, the distinction between the formal and natural sciences, empiricist holism, the structure of ontology, and philosophical skepticism. Philosophers will use this fresh treatment of realism and rationalism as a starting point for new directions in their own research. (shrink)

In _Realistic Rationalism_, Jerrold J. Katz develops a new philosophical position integrating realism and rationalism. Realism here means that the objects of study in mathematics and other formal sciences are abstract; rationalism means that our knowledge of them is not empirical. Katz uses this position to meet the principal challenges to realism. In exposing the flaws in criticisms of the antirealists, he shows that realists can explain knowledge of abstract objects without supposing we have causal contact with them, that (...) numbers are determinate objects, and that the standard counterexamples to the abstract/concrete distinction have no force. Generalizing the account of knowledge used to meet the challenges to realism, he develops a rationalist and non-naturalist account of philosophical knowledge and argues that it is preferable to contemporary naturalist and empiricist accounts. The book illuminates a wide range of philosophical issues, including the nature of necessity, the distinction between the formal and natural sciences, empiricist holism, the structure of ontology, and philosophical skepticism. Philosophers will use this fresh treatment of realism and rationalism as a starting point for new directions in their own research. (shrink)

Film, Art, and the Third CultureSmithMurrayoup. 2017. pp. 320. £35.00.

This chapter presents and defends key ethical principles for the use of animals in the scientific study of human disease. The discussion focuses on the roles that general ethical principles, and sets or collections of such principles, play in this research. Because of the importance and wide applicability of general principles in ethical assessment of human health-related animal research, the chapter is able to provide a useful overview of ethical issues raised by this research. The chapter discusses the roles that (...) sets of general principles play in providing ethical guidance to those involved in this research, and in expressing their central obligations and ideals. The chapter identifies the ethical core of human health-related animal research: the basic general ethical principles that govern its use and care of animals. (shrink)

The combination of rhetoric and philosophy appeared in the ancient world through Cicero, and revived as an ideal in the Renaissance. By a careful and precise analysis of the views of four major humanists-Petrarch, Salutati, Bruni, and Valla—Professor Seigel seeks to establish that they were first of all professional rhetoricians, completely committed to the relation between philosophy and rhetoric. He then explores the broader problem of the "external history" of humanism, and reopens basic questions about Renaissance culture. He departs from (...) the views held by such scholars as Hans Baron and Lauro Martines and expands the conclusions suggested by Paul Oskar Kristeller. The result is a stimulating, controversial study that rejects some of the claims made for the humanists and indicates achievements and limitations. Originally published in 1968. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

To find more information about Rowman and Littlefield titles, please visit www.rowmanlittlefield.com.

The goal of this essay is thus to identify the species of music that is most justifiably denominated sublime and to characterize it as fully as possible, in part through a suggested taxonomy of the species, illustrated by a wide range of musical examples. After a general discussion of sublimity in its original sphere of application—the natural world—I go on to consider the nature of sublime musical experience. I propose that categorizing music as some species of sublime is at base (...) a matter of what it is most like or most resembles among natural phenomena. This results in a scheme which recognizes five distinguishable kinds of sublime music: negatively transcendent, positively transcendent, mixedly transcendent, energizing, and transcendent-energizing. I distinguish sublime music from other valuable music kinds and finish by pointing to some rewards that come with the experience of sublime music. (shrink)

Katz offers such a grammatical account, in which makes it possible for the first time to explain the illocutionary potential of sentences within grammar.

Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not.

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

Contemporary philosophy standardly accepts Frege's conceptions of sense as the determiner of reference and of analyticity as (necessary) truth in virtue of meaning. This paper argues that those conceptions are mistaken. It develops referentially autonomous notions of sense and analyticity and applies them to the semantics of natural kind terms. The arguments of Donnellan, Putnam, and Kripke concerning natural kind terms are widely taken to refute internalist and rationalist theories of meaning. This paper shows that the counter-intuitive consequences about the (...) reference of natural kind terms depend as much on Frege's conceptions of sense and analyticity as on what such theories of meaning say about the senses of natural kind terms. Rather than refuting the internalist and rationalist theories of meaning, the arguments of Donnellan, Putnam, and Kripke are best recast as refutations of their own Fregean assumptions. The paper also shows how autonomous notions of sense and analyticity enable us to reconstruct such theories, formulate an internalist/ rationalist account of semantic knowledge, and preserve Donnellan's, Putnam's, and Kripke's insights about reference. (shrink)

Plato is the first philosopher to see courage as primarily a philosophical virtue. This innovation, the necessary link between courage and philosophy, stands in stark opposition to the traditional view linking courage with military or civic affairs. Plato makes courage so central to the life of philosophy that this fact alone sets him apart from almost every other author in the western philosophical canon. Courage of a new type, philosophical courage, emerges in his writings, a kind of courage necessary for (...) and configured to the philosophical life. ;The Introduction presents an overview of the pre-philosophical development of courage from Homer to Thucydides in order to prepare the transition to the Platonic understanding. Chapter One discusses the Laches, the most extensive Platonic text on courage. Chapter Two takes up the Protagoras, which discusses the issue of knowledge and its relation to courage. Chapter Three turns to the Republic and argues that whereas the highest civic activity is characterized by a desire for honor, whose psychological basis is thumos, the life of philosophy is essentially erotic. Thus, thumos and eros are connected respectively to two distinct types of courage and the move from thumos to eros is the key to explaining the move from courage in the conventional sense to philosophical courage. ;Philosophical courage implies faith in the abiding power of reason to shed light on how to face ignorance, evil, and injustice with the conviction that the remedy is philosophy itself. Plato's account of the life of philosophy is, in its very essence, characterized by philosophical courage as an enduring commitment to the project of showing that the good is the ruling principle of the universe. Philosophy remains, therefore, a quest and philosophical courage is the virtue needed to endure in that quest. Philosophical courage sustains the life of philosophy, the striving after wisdom, by maintaining the conviction of the ultimate goodness of such a life in the absence of complete and comprehensive knowledge. If the life of philosophy represents the highest human activity, then the type of courage associated with this life is correspondingly highest. (shrink)

This article explores how scientists adapt to a changing climate. To do this, we bring examples from a case study of salmon habitat restorationists in the Columbia River Basin into conversation with concepts from previous work on change and stability in knowledge infrastructures and scientific practice. In order to adapt, ecological restorationists are increasingly relying on predictive modeling tools, as well as initiating broader changes in the interdisciplinary nature of the field of ecological restoration itself. We explore how the field (...) of ecological restoration is shifting its conceptual gaze from restoring to past, historic baselines to anticipating a no-analog future and consider what this means in terms of understanding the adaptive capacity of knowledge infrastructures and epistemic communities more broadly. We argue that identifying how scientists themselves conceptualize drivers of change and respond to these changes is an important step in understanding what adaptive capacity in science might entail. We offer these examples as a provocation for thinking about “adaptive epistemologies” and how adaptation by scientists themselves can facilitate or hinder particular environmental or sociotechnical futures. (shrink)