Ontology of art and music

The literature is large and growing. Here is a selection:

Brown, Lee B. (2011), ‘Do Higher-Order Music Ontologies Rest on a Mistake?’, British Journal of Aesthetics, 51 (2), 169-84.

Cameron, Ross (2008) ‘There are no things that are musical works’, British Journal of Aesthetics, 48 (3), 295-314.

Caplan, Ben & Carl Matheson (2006) ‘Defending Musical Perdurantism’, British Journal of Aesthetics, 46 (1), 59-69.

– (2004) ‘Can a Musical Work be Created?’, British Journal of Aesthetics, 44 (2), 113-134

Currie, Gregory (1989) An Ontology of Art (New York, NY: St. Martin’s Press).

Davies, David (2011) Philosophy of the Performing Arts (Malden, MA: Wiley-Blackwell).

– (2009) ‘The Primary of Practice in the Ontology of Art’, Journal of Aesthetics and Art Criticism, 67 (2), 159-171.

– (2004) Art as Performance (Malden, MA: Blackwell).

Davies, Stephen (2003), Themes in the Philosophy of Music (Oxford: Oxford University Press)

– (2001), Musical Works and Performances (New York: Oxford University Press).

Dodd, Julian (2007), Works of music: an essay in ontology (Oxford: Clarendon Press).

Goehr, Lydia (2007), The imaginary museum of musical works : an essay in the philosophy of music (Rev. ed.)(New York ; Oxford: Oxford University Press).

Goodman, Nelson (1976), Languages of Art (2nd ed.)(Indianapolis: Hackett Publishing).

Howell, Robert (2002), ‘Types, Indicated and Initiated’, British Journal of Aesthetics, 42 (2), 105-127.

Kania, Andrew (2010), ‘The Philosophy of Music’, in Edward N. Zalta (ed.), The Stanford Encyclopedia of Philosophy (Fall 2010 ed.)  http://plato.stanford.edu/archives/fall2010/entries/music/

– (2008a) “New Waves in Musical Ontology”, in Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics, Basingstoke: Palgrave Macmillan.

– (2008b) ‘Piece for the End of Time: In Defence of Musical Ontology’, British Journal of Aesthetics, 48 (1), 65-79.

– (2008c), ‘The Methodology of Musical Ontology: Descriptivism and it’s Implications’,British Journal of Aesthetics, 48 (4), 426-44.

– (2006) ‘Making Tracks: The Ontology of Rock Music’, Journal of Aesthetics and Art Criticism, 64 (4), 401-414.

Kivy, Peter (1995) Authenticities: Philosophical Reflections on Musical Performance (Ithaca, NY: Cornell University Press).

– (1993), The Fine Art of Repetition: Essays in the Philosohy of Music (Cambridge University Press: Cambridge).

Lamarque, Peter (2010) Work and Object: Explorations in the Metaphysics of Art (New York: Oxford).

Levinson, Jerrold (2011), Music, art, and metaphysics : essays in philosophical aesthetics(Rev. ed.)(Oxford: Oxford University Press)

Predelli, Stefano (2009) ‘Ontologese and Musical Nihilism: A Reply to Cameron’, British Journal of Aesthetics, 49 (2), 179-183.

Ridley, Aaron (2003) ‘Against Musical Ontology’, Journal of Philosophy, 100, 203-20.

Rohrbaugh, Guy (2003) ‘Artworks as Historical Individuals’, European Journal of Philosophy, 11, 177-205.

Stock, Kathleen (2007), Philosophers on music : experience, meaning, and work (Oxford: Oxford University Press).

Thomasson, Amie (2010) ‘Ontological Innovation in Art’, Journal of Aesthetics and Art Criticism, 68 (2), 119-130.

– (2005) ‘The Ontology of Art and Knowledge in Aesthetics’, Journal of Aesthetics and Art Criticism, 63 (3), 221-229.