Art, performing

References and further reading

	Alperson, P. (1984) ‘On Musical Improvisation’, Journal of Aesthetics and Art Criticism 43: 17–30. (Argues, as in §5, that the goals of improvisation differ from those relevant to the performance of works but departs from the above in regarding improvisations as works.)
	Carlson, M. (1984) Theories of the Theatre: A Historical and Criticial Survey from the Greeks to the Present, Ithaca, NY, and London: Cornell University Press. (A detailed survey of the methods, aims, functions and characteristics of Western theatre from the Greeks to the present.)
	Carlson, M. (1984) Theories of the Theatre: A Historical and Criticial Survey from the Greeks to the Present, Ithaca, NY, and London: Cornell University Press. (A detailed survey of the methods, aims, functions and characteristics of Western theatre from the Greeks to the present.)
	Davies, S. (1987) ‘Authenticity in Musical Performance’, The British Journal of Aesthetics 27: 39–50. (Outlines conditions for the authentic performance of works and emphasises their compatibility with performers’ creativity.)
	Davies, S. (1991) ‘The Ontology of Musical Works and the Authenticity of their Performances’, Nous 25: 21–41. (Covers prevailing views on the ontology of musical works and on the relevance of authenticity in performance; argues for the connectedness of these issues; and includes a bibliography.)
	Godlovitch, S. (1990) ‘Music Performance and the Tools of the Trade’, IYYUN, The Jerusalem Philosophical Quarterly 39: 321–38. (Argues, as in §3, that the difficulties of performing on musical instruments sometimes are essential, not incidental, features of the works that employ them.)
	Godlovitch, S. (1993) ‘The Integrity of Musical Performance’, Journal of Aesthetics and Art Criticism 51: 573–87. (Characterizes conditions for the integrity of musical performances as listed in §2.)
	Kivy, P. (1988) ‘Live Performances and Dead Composers: On the Ethics of Musical Interpretation’, in J. Dancy, J.M.E. Moravcsik and C.C.W. Taylor (eds) Human Agency: Language, Duty and Value, Stanford, CA: Stanford University Press, 219–36. (Argues against alternative views that we have a strong, prima facie obligation to follow the composer’s specified intentions.)
	Levinson, J. (1987) ‘Evaluating Musical Performance’, The Journal of Aesthetic Education 21 (1): 75–88. (Emphasizes, as in §2, that the features desirable in a performance are relative to, among other things, the audience’s context and knowledge.)
	Levinson, J. (1990) ‘Authentic Performance and Performance Means’, in Music, Art, and Metaphysics, Ithaca, NY, and London: Cornell University Press, 393–408. (Argues, as in §2, that the means of performance are criterial for the identity of works for performance, because the use of the means generates some of the work’s artistically important properties.)
	Mc Fee, G. (1992) Understanding Dance, New York: Routledge. (Introductory text on the philosophy of dance.)
	Mark, T.C. (1980) ‘On Works of Virtuosity’, The Journal of Philosophy 77: 28–45. (Argues, as in §3, that virtuosic works are about the virtuosity they display and that performances themselves can be works of art.)
	Saltz, D. (1991) ‘How To Do Things On Stage’, Journal of Aesthetics and Art Criticism 49: 31–45. (Considers the extent to which an actor’s actions could be the actions of the character portrayed by the actor, with discussion of different models.)
	Sparshott, F. (1988) Off the Ground: First Steps to a Philosophical Consideration of the Dance, Princeton, NJ: Princeton University Press. (Detailed discussion of the metatheory of dance.)
	Thom, P. (1993) For an Audience: A Philosophy of the Performing Arts, Philadelphia, PA: Temple University Press. (Attempts to define the performing arts, distinguishing them from nonperformance arts and from nonartistic performance.)
	Walton, K.L. (1988) ‘The Presentation and Potrayal of Sound Patterns’, in J. Dancy, J.M.E. Moravcsik and C.C.W. Taylor (eds) Human Agency: Language, Duty and Value, Stanford, CA: Stanford University Press, 237–57. (Discusses how performances go beyond instantiating the pattern of the work as specified in its notation and how the notion of performance is both functional and normative.)