Philosophy of the Performing Arts

228 index
Davies, D. 48n3, 49n13, 49n18,
50n32, 67n9, 67n10, 70n20,
70n23, 86n13, 123, 199n5,
199n21, 218n12
Davies, S. 18, 21n4, 33, 48n4, 48n5,
48n10, 67n3, 67n11, 68n14,
85n1, 132n18, 162, 163,
170n9, 170n11, 170n12,
171n18
on authenticity in musical
performance 77–80, 82, 83,
85n2, 86n4, 86n7, 86n8, 86n10,
86n12, 89, 132n19
on Balinese music 20n3, 101–2
on Cage’s 4 ́ 33 ̋ 21n5, 215, 217n5,
218n14
on Goehr on the “work-concept”
93–4
on improvisational
composition 158–9, 170n5,
170n6
on jazz standards 95, 96, 156–7,
170n2, 170n4
on the nature of improvisation 151,
152–4
on rock works as works for studio
performance 97–100
on thick and thin musical works 91
Davis, M.
“All Blues” 201, 205, 210
“Blue in Green” 136, 155, 157
Kind of Blue 201, 217n2
“My Funny Valentine” 95
Day, T. 51–3, 54, 55
Desmond, J. 199n11
Dibbs, M. 148n1
Dickens, C.
David Copperfield 129
Dickie, G. 4
on the institutional theory of
art 7–10, 14, 16, 20n1
Dilworth, J. 50n32
Dipert, R. 75–6, 86n7, 111
Dodd. J. 36, 39, 43, 49n21, 50n27,
50n30
on identity conditions for
types 48n9, 49n15, 49n16,
49n17, 50n29, 67n4
on musical works as norm-types 42,
48n8, 49n24
on sonicism 32, 33, 48n10, 48n12,
48n13
Duchamp, M. 21n5
In Advance of the Broken Arm 206
Dürer, A. 73
Dutton, D. 49n18, 148n5, 199n21
Edidin, A. 76, 81–2, 86n3, 86n4,
86n5, 86n6, 86n7, 111
Eicher, M. 135
Eimert, H. 98
Eliot, T. S.
“The Love Song of J. Alfred
Prufrock” 144, 145
The Wasteland 31
embodiment of the performer 189–98
Evans, B. 201
fictionalism 44–7
Fraleigh, S. 192, 199n12
Franko, M. 128
Gabrieli, G. 82
Gallagher, S. 191–2, 194, 197,
199n13, 199n14, 199n15
Gallese, S. 198, 199n14, 199n18,
199n19, 199n20
Garrick, D. 166, 168
Gaut, B. 171n21
Gibson, J. J. 191
Gilbert and George 208
Gluck, C. W. 75, 76, 78
Godard, J.-L.
One Plus One 102n3
Goehr, L. 86n4, 151
on the “work-concept” 91–4
Goldberg, R. 203, 204
on the nature of performance
art 207–8, 209
Goldie, P., and Schellekens, E. 212
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