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| 高階音樂存有學中的作品類型辯論 是否只對哲學本身有益？ |
| Whether the Work Type Debates in Higher-Level Musical Ontology Are Useful Just for Philosophy Itself ? |
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| 作者 |
許昊仁 |
| Author |
Hao-ren Xu |
| 關鍵詞 |
音樂存有學、
作品、
欣賞實踐、
評論性注意力
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| Keywords |
musical ontology,
work,
appreciative practice,
critical attention
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| 摘要 |
最近，音樂存有學家關心：什麼事物是一個特定音樂形式中
的藝術品。安德魯·卡尼亞 (Andrew Kania) 相信那些作品類型辯論為他的音樂經驗帶來哥白尼革命，但李·布朗 (Lee B. Brown) 和詹姆斯·揚 (James O. Young) 都認為卡尼亞搞錯了，那些辯論對欣賞實踐毫無幫助，最多對哲學本身有益。我在這篇文章中回應他們的批評，替作品類型辯論的實用價值辯護。我主張這種辯論會激勵我們在不同種類的藝術事物間轉換注意力，帶來截然不同的欣賞經驗。 |
| Abstract |
Recently, musical ontologists cared about what types of objects are artworks in a specific music form. Andrew Kania believed that these work type debates initiated a sort of Copernican revolution in his experience of music, but Lee B. Brown and James O. Young both claimed that Kania was wrong; these are useless for our appreciative practice, and at best are useful just for philosophy itself. In this article, I respond to their criticism and defend the practical value of the debates. I argue that the debates may have us shift our attention between different types of art objects, and result in an entirely different experience of appreciation. |
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