La ontología de las obras musicales
Palabras clave:
Eventos, Identidad, Objeto Intencional, Obras Musicales, Ontología
Resumen
Confronta ciertos enigmas surgidos en torno a la naturaleza e identidad de la obra musical, y rechaza estos enigmas por irreales: o bien ellos conciernen a la obra musical en sí misma, en cuyo caso son enigmas acerca del estatus metafísico de un objeto intencional, y por lo tanto susceptibles a una solución arbitraria, o bien ellos conciernen a los sonidos con los que la obra es escuchada, en cuyo caso simplemente se trata de casos especiales de los problemas concernientes a la naturaleza e identidad de los eventos.
Referencias
Bender, J. (1991), «Music and Metaphysics: Types and Patterns, Performances and Works». In: Proceedings of the Ohio Philosophical Association, April, pp. 140-157.
Bourdieu, P. (1984), Distinction: A Social Critique of the Judgement of Taste. Tr. R. Nice. London: Routledge &. Kegan Paul.
Dahlhaus, C. (1982), Esthetics of Music. Tr. W. Austin. Cambridge: Cambridge University Press.
Dahlhaus, C. (1989), The Idea of Absolute Music. Tr. R. Lustig. Chicago: The University of Chicago Press
Eagleton, T. (1990), The Ideology of the Aesthetic. Oxford: Basil Blackwell.
Geach, P. T. (1992), «Intentional Identity». In: Logic Matters. Oxford: Basil Blackwell.
Goehr, L. (1992), The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Oxford University Press.
Goodman, N. (1969), Languages of Art: An Approach to a Theory of Symbols. London: Oxford University Press.
Hobbes, Th. (1839), «Elementorum Philosophiae Sectio Prima De Corpore». In: Opera Philosophica, ed. Sir Thomas Molesworth. London: J. Bohn, vol. 1. pp. 1-431.
Ingarden, R. (1986), The Work of Music and the Problem of its Identity. (Paris, 1928). Tr. A. Czerniawski. Ed. J. G. Harrell. Berkeley & Los Angeles: University of
California Press.
Kivy, P. (1993), «Platonism in Music: A Kind of Defense». In: The Fine Art of Repetition: Essays in the Philosophy of Music. Cambridge: Cambridge University Press.
Levinson, J. (1990), «What a Musical Work Is». In: Music, Art and Metaphysics. Ithaca, NY: Cornell University Press.
Parfit, D. (1984), Reason and Persons. Oxford: Clarendon Press.
Peirce, C. S. (1958), Selected Writings (Values in a Universe of Chance). Ed. Philip P. Wiener. New York: Dover Publications.
Said, E. (1991), Musical Elaborations. New York: Columbia University Press
Scruton, R. (1993), The Aesthetics of Music. Oxford: Clarendon Press.
Strawson, P. F. (1974), «Aesthetic Appraisal and Works of Art». In: Freedom and Resentment and Other Essays. London, Methuen & Co. Ltd.
Wollheim, R. (1968), Art and its Object. New York, Harper & Row.
Wolterstorff, N. (1994), «The Work of Making a Work of Music». In: P. Alperson (ed.), What is Music?: An Introduction to the Philosophy of Music. University Park, Pa: Penn State Press.
Bourdieu, P. (1984), Distinction: A Social Critique of the Judgement of Taste. Tr. R. Nice. London: Routledge &. Kegan Paul.
Dahlhaus, C. (1982), Esthetics of Music. Tr. W. Austin. Cambridge: Cambridge University Press.
Dahlhaus, C. (1989), The Idea of Absolute Music. Tr. R. Lustig. Chicago: The University of Chicago Press
Eagleton, T. (1990), The Ideology of the Aesthetic. Oxford: Basil Blackwell.
Geach, P. T. (1992), «Intentional Identity». In: Logic Matters. Oxford: Basil Blackwell.
Goehr, L. (1992), The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Oxford University Press.
Goodman, N. (1969), Languages of Art: An Approach to a Theory of Symbols. London: Oxford University Press.
Hobbes, Th. (1839), «Elementorum Philosophiae Sectio Prima De Corpore». In: Opera Philosophica, ed. Sir Thomas Molesworth. London: J. Bohn, vol. 1. pp. 1-431.
Ingarden, R. (1986), The Work of Music and the Problem of its Identity. (Paris, 1928). Tr. A. Czerniawski. Ed. J. G. Harrell. Berkeley & Los Angeles: University of
California Press.
Kivy, P. (1993), «Platonism in Music: A Kind of Defense». In: The Fine Art of Repetition: Essays in the Philosophy of Music. Cambridge: Cambridge University Press.
Levinson, J. (1990), «What a Musical Work Is». In: Music, Art and Metaphysics. Ithaca, NY: Cornell University Press.
Parfit, D. (1984), Reason and Persons. Oxford: Clarendon Press.
Peirce, C. S. (1958), Selected Writings (Values in a Universe of Chance). Ed. Philip P. Wiener. New York: Dover Publications.
Said, E. (1991), Musical Elaborations. New York: Columbia University Press
Scruton, R. (1993), The Aesthetics of Music. Oxford: Clarendon Press.
Strawson, P. F. (1974), «Aesthetic Appraisal and Works of Art». In: Freedom and Resentment and Other Essays. London, Methuen & Co. Ltd.
Wollheim, R. (1968), Art and its Object. New York, Harper & Row.
Wolterstorff, N. (1994), «The Work of Making a Work of Music». In: P. Alperson (ed.), What is Music?: An Introduction to the Philosophy of Music. University Park, Pa: Penn State Press.
Publicado
2013-12-20
Cómo citar
[1]
Scruton, R. 2013. La ontología de las obras musicales. Disputatio. 2, 3 (dic. 2013), 25-50.
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Esta obra está bajo licencia internacional Creative Commons Reconocimiento-NoComercial-SinObrasDerivadas 4.0.
