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Works of MusicAn Essay in Ontology$
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Julian Dodd

Print publication date: 2007

Print ISBN-13: 9780199284375

Published to Oxford Scholarship Online: September 2007

DOI: 10.1093/acprof:oso/9780199284375.001.0001

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Defending the Type/Token Theory II: Musical Platonism

Defending the Type/Token Theory II: Musical Platonism

Chapter:
(p.99) 5 Defending the Type/Token Theory II: Musical Platonism
Source:
Works of Music
Author(s):

Julian Dodd (Contributor Webpage)

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199284375.003.0006

This chapter defends what is perhaps the most controversial consequence of the type/token theory: musical Platonism. Musical Platonism is the doctrine that works of music, qua types of sound-sequence-event, exist at all times, and it follows from this doctrine that the composition of a work of music is a species of invention, not discovery. Two morals emerge in the course of the chapter. First, contrary to the views of Jerrold Levinson, no version of the type/token theory can avoid musical Platonism. Second, the thesis that musical works are discovered rather than created by their composers, is eminently defensible. A conception of composition as creative discovery is outlined and defended against objections by philosophers such Levinson, Michael Morris, Stefano Predelli, R. A. Sharpe, and Saam Trivedi.

Keywords:   composition, creative discovery, Jerrold Levinson, Michael Morris, Stefano Predelli, R. A. Sharpe, Saam Trivedi

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