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Art, performing

DOI
10.4324/9780415249126-M034-2
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Published
2010
DOI: 10.4324/9780415249126-M034-2
Version: v2,  Published online: 2010
Retrieved March 29, 2024, from https://www.rep.routledge.com/articles/thematic/art-performing/v-2

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.)

  • Alperson, P. (2008) ‘The Instrumentality of Music’, Journal of Aesthetics and Art Criticism 66: 37–51.

    (Describes the centrality to music-making of the characteristics of musical instruments.)

  • Carlson, M. (1984) Theories of the Theatre: A Historical and Criticial Survey from the Greeks to the Present, Ithaca, NY: Cornell University Press.

    (A detailed survey of the methods, aims, functions and characteristics of Western theatre from the Greeks to the present.)

  • Carroll, N. (1986) ‘Performance Art’, Formations 3 (1): 63–79.

    (Analyses nature and history of performance art.)

  • Davies, D. (2004) Art as Performance, Malden, MA: Blackwell.

    (Defends the view that the work of art is not the product of the artist’s performance of creating, but is that performance itself.)

  • Davies, S. (1987) ‘Authenticity in Musical Performance’, British Journal of Aesthetics 27: 39–50.

    (Outlines conditions for the authentic performance of works and emphasizes their compatibility with performers’ creativity.)

  • Davies, S. (2001) Musical Works and Performances, Oxford: Clarendon Press.

    (Argues that musical works come in several distinct ontological types, considers the relation of performances to works, and discusses authenticity in performance; includes a bibliography.)

  • Davies, S. (2003) Themes in the Philosophy of Music, Oxford: Oxford University Press.

    (Includes discussion of music ontological issues and authentic performance.)

  • Dodd, J. (2007) Works of Music: An Essay in Ontology, Oxford: Oxford University Press.

    (Defends the view that tonal colour, but not the instrumental means for producing this, belongs to the identity conditions for musical works.)

  • Gabrielsson, A. (2003) ‘Music Performance Research at the Millenium’, Psychology of Music 31 (3): 221–272.

    (An overview of empirical research by psychologists.)

  • Godlovitch, S. (1998) Musical Performance: A Philosophical Study, London: Routledge.

    (An account of the relation between performance and works for the performer’s point of view, emphasizing the performer’s creative contribution.)

  • Gracyk, T. A. (1996) Rhythm and Noise: An Aesthetics of Rock Music, Durham, NC: Duke University Press.

    (A ground breaking analysis of the nature and ontology of rock music.)

  • Hamilton, A. (2007) Aesthetics and Music, London: Continuum.

    (Includes discussion of Scruton’s argument that music is pure sound, abstracted from the instruments that produce it.)

  • Hamilton, J. R. (2008) The Art of Theater, Malden, MA: Blackwell.

    (Argues for the independence of theatrical performance from literature and that they can be identified independently of the texts, if any, that are employed in them.)

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

    (Argues that the primary work in rock is neither the album nor a song for live performance but the track.)

  • 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, 219–236.

    (Argues against alternative views that we have a strong, prima facie obligation to follow the composer’s specified intentions.)

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

    (Argues that different kinds of authenticity are involved in musical performance – to the work, to the performer, etc. – and that work-authenticity is achieved by playing the work as its composer would want it done now, not as originally specified.)

  • Levinson, J. (1987) ‘Evaluating Musical Performance’, 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’, inMusic, Art, and Metaphysics, Ithaca: 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.)

  • McFee, G. (1992) Understanding Dance, New York: Routledge.

    (Introductory text on the philosophy of dance.)

  • Mark, T. C. (1980) ‘On Works of Virtuosity’, 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.)

  • Osipovich, D. (2006) ‘What Is a Theatrical Performance?’, Journal of Aesthetics and Art Criticism 64: 461–470.

    (Argues that theatrical performances cannot be interpretations of the plays they are of.)

  • Saltz, D. Z. (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.)

  • Saltz, D. Z. (2001) ‘What Theatrical Performance Is (Not): The Interpretation Fallacy’, Journal of Aesthetics and Art Criticism 59: 299–306.

    (Argues that theatrical performances are not interpretations of the plays they are of.)

  • Scruton, R. (1997) The Aesthetics of Music, Oxford: Clarendon Press.

    (Defends the view that music is essentially acousmatic, which is to say that it is to be appreciated as pure sound, without regard to the means by which this sound is made.)

  • 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.)

  • Thom, P. (2007) The Musician as Interpreter, University Park, PA: Pennsylvania State University Press.

    (Considers musical transcription, realization and interpretation.)

  • Walton, K. L. (1988) ‘The Presentation and Portrayal 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, 237–257.

    (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.)

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Citing this article:
Davies, Stephen. Bibliography. Art, performing, 2010, doi:10.4324/9780415249126-M034-2. Routledge Encyclopedia of Philosophy, Taylor and Francis, https://www.rep.routledge.com/articles/thematic/art-performing/v-2/bibliography/art-performing-bib.
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