By Julian Dodd
During this unique and iconoclastic publication, Julian Dodd argues for what he phrases the straightforward view of the ontological nature of works of natural, instrumental song. This account is the conjunction of 2 theses: the type/token conception and sonicism. The type/token concept addresses the query of which ontological class musical works fall lower than, and its resolution is that such works are forms whose tokens are sound-sequence-events. Sonicism, in the meantime, addresses the query of ways works of tune are individuated, and it tells us that works of song are exact simply in case they sound precisely alike. either conjuncts of the straightforward view are hugely debatable, and Dodd defends them vigorously and with ingenuity. even if the easy view is favoured by means of only a few writers within the philosophy of tune, Dodd continues that it's the default place given our traditional intuitions approximately musical works, that it could resolution the types of objections that experience led different philosophers to brush off it, and that it's, in retrospect, the main promising ontology of song on supply. in particular, Dodd argues that the type/token conception bargains the simplest rationalization of the repeatability of works of track: the truth that such works admit of a number of incidence. additionally, he is going directly to declare that the theory's such a lot extraordinary end result - specifically, that musical works are everlasting existents and, for this reason, that composers notice instead of create their works - is minimally disruptive of our intuitions about the nature of composition and our appreciation of works of tune. in terms of sonicism, Dodd argues either that this manner of individuating works of song is prima facie right, and that the putative counter-examples it faces - so much particularly, these propounded by way of Jerrold Levinson - may be harmlessly defined away. within the ontology of track, simplicity ideas.