Philosophy of the Performing Arts

52 performance and the classical paradigm The third movement is a scurrying Scherzo which erupts in fiery outbursts. Its lyrical ...

appreciating performable works in performance 53 the composer, referring to the markings of “ lugubre ” and “ lento e suave ” in ...

54 performance and the classical paradigm But types, as we have seen, are entities of a very different stripe from the performan ...

appreciating performable works in performance 55 Sibelius’s Second Symphony can possess those structural, timbral, and expressiv ...

56 performance and the classical paradigm performable work itself, if it is a type, cannot possess this property since it does n ...

appreciating performable works in performance 57 directly referring to their tokens.^8 But perception seems to require a more in ...

58 performance and the classical paradigm conceived as continuants depend upon their occurrences in some way. This suggests that ...

appreciating performable works in performance 59 both the performable work and its performances that is strikingly different fro ...

60 performance and the classical paradigm On the basis of this analysis, Goodman proposes that we identify literary works with t ...

appreciating performable works in performance 61 into the technical details of these requirements here.^14 But it will be helpfu ...

62 performance and the classical paradigm uniquely determined by each correct performance of W , then verbal speci- fications of ...

appreciating performable works in performance 63 be uniquely retrievable from performances of the work? What motivates this seco ...

64 performance and the classical paradigm work. In the case of paintings it does matter because we cannot determine whether an e ...

appreciating performable works in performance 65 of W will be present in both performances.^18 So, in this respect at least, it ...

66 performance and the classical paradigm Instrumentalists and contextualists sometimes fail to distinguish these questions. The ...

appreciating performable works in performance 67 identical to the original, is simply a device used to make a philosophical poin ...

68 performance and the classical paradigm means is included in the score, can a performance’s compliance with the score be deter ...

appreciating performable works in performance 69 of the score to allow that performances departing from the notational require- ...

70 performance and the classical paradigm An instrumentalist like Levinson, however, will insist that there is such a salient d ...

1 Introduction I suggested in the previous chapter that we have good reason to reject the Goodman argument and the premises on w ...