Against musical works as eternal types

British Journal of Aesthetics

Volumn 42, Issue 1, 2002, Pages 73-82

  Trivedi, Saam ^a  

^a SIMMONS COLLEGE   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949647643     PISSN: 00070904     EISSN: None     Source Type: Journal    
DOI: 10.1093/bjaesthetics/42.1.73     Document Type: Article

References (13)

1. Julian Dodd, 'Musical Works as Eternal Types', British Journal of Aesthetics vol. 40 (2000), pp. 424-440
2. Richard Wollheim, Art and lis Objects, 2nd edn (Cambridge: Cambridge U.P., 1980), pp. 74-79
3. See Dodd, op. cit., p. 440
4. For background concerning aesthetic empiricism, see Frank Sibley, 'Aesthetic Concepts', Philosophical Review, vol. 68 (1959), pp. 421-450
5. and Kendall Walton, 'Categories of Art', Philosophical Review, vol. 79 (1970), pp. 334-367
6. Compare Levinson, 'What a Musical Work Is, Again', pp. 261-263
7. Dodd, op. cit., p. 427
8. See, for example, Aaron Ridley, Music, Value and the Passions (Ithaca: Cornell U.P., 1995)
9. and Derek Matravers, Art and Emotion (Oxford: Oxford U.P., 1998)
10. I discuss both views in my 'Imagination and Musical Expressiveness', in Dominic Lopes and Matthew Kieran (eds), Imagination and the Arts (Oxford: Blackwell, forthcoming)
11. See also my review of Ridley in Mind, vol. 109 (2000), pp. 387-390
12. I have also earlier advanced my view of musical expressiveness in 'Expressiveness as a Property of the Music Itself', Journal of Aesthetics and Art Criticism vol. 59 (2001), pp. 411-420
13. Dodd, op. cit., p. 435