Empiricism and the Ontology of Jazz

Empiricism and the Ontology of Jazz

Tags:

• ontology,
• empiricism,
• jazz,
• philosophy of music

Notes:

• Berkeley, George. Principles of Human Knowledge and Three Dialogues. Oxford: Oxford University Press, 1996.
  Carnap Rudolf. ‘Empiricism, Semantics and Ontology’, Revue internationale de philosophie 11, no. 4, (1950), 20–40. 
  Davies, Stephen. Musical Works and Performances. Oxford: Oxford University Press, 2001.
  Dodd, Julian. Works of Music. Oxford: Oxford University Press, 2007.
  Dodd, Julian. ‘Upholding Standards: A Realist Ontology of Standard Form Jazz’, Journal of Aesthetics and Art Criticism 72, no. 3 (2014), 277–90.
  Kania, Andrew. ‘The Methodology of Musical Ontology: Descriptivism and its Implications,’ British Journal of Aesthetics 48, no. 4 (2008), 426–444. 
  Kania, Andrew. ‘All Play and No Work: An Ontology of Jazz’, Journal of Aesthetics and Art Criticism 69, no. 4 (2011), 391–403.
  Kania, Andrew. ‘In Defence of Higher-Order Musical Ontology: A Reply to Lee B. Brown,’ British Journal of Aesthetics 52, no. 1(2012), 97–102.
  Kivy, Peter, The Fine Art of Repetition. Cambridge: Cambridge University Press, 1993.
  Quine, W.V.O. From a Logical Point of View, second edition, revised, Cambridge, Mass.: Harvard University Press, 1980.
  Quine, W.V.O. Word and Object, Cambridge, Mass.: MIT Press, 1960. 
  Quine, W.V.O. Ontological Relativity and Other Essays. New York: Columbia University Press, 1969.
  Young, James O. and Carl Matheson, ‘The Metaphysics of Jazz’, Journal of Aesthetics and Art Criticism 58, no. 2 (2000), 125–33. 
  Young, James O. ‘The Ontology of Musical Works: A Philosophical Pseudo-Problem’, Frontiers of Philosophy in China 6, no. 2 (2011), 284–97.