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Ontology of Musical Work and Analysis of Musical Practice

English title Ontology of Musical Works and Analysis of Musical Practice
Applicant Beisbart Claus
Number 156238
Funding scheme Interdisciplinary projects
Research institution Institut für Philosophie Universität Bern
Institution of higher education University of Berne - BE
Main discipline Philosophy
Start/End 01.02.2015 - 31.01.2019
Approved amount 460'864.00
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All Disciplines (2)

Discipline
Philosophy
Musicology

Keywords (10)

Ontology; Praxis; Music; Ontology of Music; Ontology of Art; Metaphysics; Aesthetics; Musicology; Art; Musical Notation

Lay Summary (German)

Lead
Die Ontologie der Musikwerke als Teil der Ontologie der Kunst ist ein interdisziplinäres Gebiet der Philosophie, das sich sowohl mit rein theoretischen Aspekten der Ontologie als auch mit spezifischen Fragen der Kunst- und Musikwissenschaft befasst.
Lay summary

Inhalt und Ziele

Das Projekt Ontology of Musical Works and Analysis of Musical Practices ist durch zwei Perspektiven charakterisiert:

  • Als ontologische Untersuchung befasst sich das Projekt mit den Fragestellungen dieser Disziplin. Es geht darum, zu verstehen, zu welchem Objekttyp Musikwerke gehören und welche Merkmale (Zeitlichkeit, Zeitlosigkeit, Wiederholbarkeit usw.) sie haben.
  • Andererseits geht das Projekt davon aus, dass die Vielfalt der Praxis in Musik bzw. Kunst – also die gesellschaftlich und historisch bedingten Modalitäten der Komposition, der Produktion und des Konsums von Musikwerken – eine entscheidende Rolle in der ontologischen Bestimmung von Kunstwerken spielt.

    Das Projekt hat zwei Ziele: Es will sowohl ontologische Behauptungen über bestimmte Musikwerke formulieren, als auch ein Vorbild für die Anwendung solcher Analysen auf andere Formen der Musikpraxis schaffen.

    Darüber hinaus werden im Rahmen des Projekts

  • zwei internationale Konferenzen organisiert und
  • die Zusammenarbeit mit der HdKB und dem Institut für Musikwissenschaft der UniBern gefördert.

    Wissenschaftlicher Kontext

    Die Ontologie der Musikwerke hat in den letzten Jahrzehnten zunehmend Aufmerksamkeit gewonnen. Die Disziplin leidet dennoch unter zwei strukturellen Problemen, mit denen sich das Projekt befassen will:

  • Mangelnde interdisziplinäre Zusammenarbeit zwischen Philosophie und Musikwissenschaft: Die Ontologie der Musik wurde hauptsächlich von und für Philosophen als „Paralleldisziplin“ zur Musikwissenschaft entwickelt.
  • Trennung zwischen Theorie und Praxis: Einerseits wird die Ontologie der Musikwerke zu häufig und ungerecht als philosophisches, nutzloses Theoretisieren beklagt. Andererseits haben Philosophen oft die Frage nach dem ontologischen Status der Musikwerke zu generisch formuliert, ohne sich auf die unterschiedlichen Praktiken und Traditionen zu beziehen, in denen Musik produziert und konsumiert wird.
Direct link to Lay Summary Last update: 23.01.2015

Responsible applicant and co-applicants

Employees

Publications

Publication
Improvisation and Orientation
RutaMarcello (2021), Improvisation and Orientation, in Bertinetto Alessandro, Ruta Marcello (ed.), Routledge, New York, 85-99.
Introduction
BertinettoAlessandro, RutaMarcello (2021), Introduction, in Bertinetto Alessandro, Ruta Marcello (ed.), Routledge, New York, 1-18.
The Routledge Handbook of Philosophy and Improvisation in the Arts
Bertinetto Alessandro, Ruta Marcello (ed.) (2021), The Routledge Handbook of Philosophy and Improvisation in the Arts, Routledge, New York.
Von der Fuge in Rot bis zur Zwitschermaschine
Gartmann Thomas (2020), Von der Fuge in Rot bis zur Zwitschermaschine, in Gartmann Thomas (ed.), Schwabe, Basel, 7-10.
Von der Fuge in Rot bis zur Zwitschermaschine - Paul Klee und die Musik
Gartmann Thomas (ed.) (2020), Von der Fuge in Rot bis zur Zwitschermaschine - Paul Klee und die Musik, Schwabe, Basel.
Zwitschermaschine
Gartmann Thomas (2020), Zwitschermaschine, in Gartmann Thomas (ed.), Schwabe, Basel, 65-66.
Hermeneutics and the Performative Turn – The Unfruitfulness of a Complementary Characterization
RutaMarcello (2018), Hermeneutics and the Performative Turn – The Unfruitfulness of a Complementary Characterization, in Vidma Iris, Vaughan Connel (ed.), European Society for Aesthetics, Fribourg, 557-597.
Horowitz Does Not Repeat Either! Some Considerations about Free Improvisation, Repeatability and Normativity
RutaMarcello (2017), Horowitz Does Not Repeat Either! Some Considerations about Free Improvisation, Repeatability and Normativity, in Vaughan Connel, Ratiu Dan-Eugen (ed.), European Society for Aesthetics, Fribourg, 510-523.

Collaboration

Group / person Country
Types of collaboration
Université de Lorraine (R. Pouivet) France (Europe)
- in-depth/constructive exchanges on approaches, methods or results
Hochschule der Künste Bern Switzerland (Europe)
- in-depth/constructive exchanges on approaches, methods or results
- Research Infrastructure
Zentrum Paul Klee Switzerland (Europe)
- Publication
- Research Infrastructure

Scientific events

Active participation

Title Type of contribution Title of article or contribution Date Place Persons involved
Penser la musique à l’ère du web / Thinking music in the web age Talk given at a conference Flânerie musicale et collectionnisme virtuel– Changements et persistances dans la consommation de la musique à l’ère du web 31.01.2019 Strasbourg, France Ruta Marcello;
Clarifications Esthétiques Talk given at a conference L’enregistrement classique live: implications ontologiques 17.01.2019 Nancy, France Colas Annabel;
Mickiewiczs Anfänge und die Anfänge der Romantik – Traditionen, Strategien, Ideen, Sprache Talk given at a conference Kunstkritik und formale Ironie in Walter Benjamins Berner Dissertation. Überlegungen über zwei Kernbegriffe der Frühromantik 14.11.2018 Bialystok, Poland Ruta Marcello;
MANCEPT Workshop Democracy and Aesthetics: Performance, Perception and Representation Talk given at a conference Gadamer’s Critique of Kant’s Aesthetics and the Aesthetic Dimension of Contemporary Democratic Practices 10.09.2018 Manchester, Great Britain and Northern Ireland Ruta Marcello;
European Society for Aesthetics Conference 2018 Talk given at a conference Hermeneutics and the Performative Turn – The Unfruitfulness of a Complementary Characterization 14.06.2018 Maribor, Slovenia Ruta Marcello;
Musique et émotions dans la littérature Talk given at a conference Staring at an Absolute Beauty” – Why Musical Scores are not Mere Instructions for Performers and what can be Learnt about That from Literature 17.11.2017 Bern, Switzerland Ruta Marcello;
2017 OZSW Conference Talk given at a conference De Dicto, de Re, de Traditione: On Robert Brandom’s Inferentialist Account of Interpretation 11.11.2017 Doorn, Netherlands Ruta Marcello;
ECAP9 European Congress of Analytic Philosophy Talk given at a conference Why Improvisation Blows up the Token/Type Distinction 21.08.2017 München, Germany Colas Annabel;
6th Conference of the Royal Musical Association Music and Philosophy Study Group Talk given at a conference Why Improvisation Blows up the Token/Type Distinction 14.07.2017 London, Great Britain and Northern Ireland Colas Annabel;
European Society for Aesthetics Conference 2017 Talk given at a conference Horowitz Does Not Repeat Either! Some Considerations about Free Improvisation, Repeatability and Normativity 26.05.2017 Berlin, Germany Ruta Marcello;
Authenticity versus Improvisation in the Philosophy of Music? Talk given at a conference Horowitz Does Not Repeat Either! Some Considerations about Free Improvisation, Repeatability and Normativity 19.05.2017 Bern, Switzerland Ruta Marcello;
Authenticity versus Improvisation in the Philosophy of Music? Talk given at a conference Why Improvisation Blows up the Token/Type Distinction 19.05.2017 Bern, Switzerland Colas Annabel;
Vortrag Zentrum Paul Klee Individual talk Ontology of Music and Authenticity –A Preliminary Approach 19.11.2016 Berne, Switzerland Ruta Marcello;
Essence and Context: A conference between Music and Philosophy Talk given at a conference Is there such a thing as the perfect performance of a musical work? 31.08.2016 Vilnius, Lithuania Colas Annabel;
Wittgenstein-Symposium 2016 Talk given at a conference Ästhetische Eigenschaften, Dispositionen und Interpretationen zwischen Ontologie und Ästhetik 08.08.2016 Kirchberg am Wechsel, Austria Ruta Marcello;
Music, Art and Philosophy in Dialogue Talk given at a conference Was steht in der Partitur? Alles, nur das Wesentliche nicht! 20.05.2016 Bern, Switzerland Gartmann Thomas;
Music, Art and Philosophy in Dialogue Talk given at a conference Das Performative und das Hermeneutische – Ein musikphilosophischer Versuch 20.05.2016 Berne, Switzerland Ruta Marcello;
Music, Art and Philosophy in Dialogue Talk given at a conference Is there such a thing as the perfect performance of a musical work? 20.05.2016 Berne, Switzerland Colas Annabel;
Salzburg Conference for Young Analytic Philosophy SOPHIA Talk given at a conference Is there such a thing as the perfect performance of a musical work? 02.09.2015 Salzburg, Austria Colas Annabel;


Self-organised

Title Date Place
Music, Art and Philosophy in Dialogue 20.05.2016 Berne, Switzerland

Communication with the public

Communication Title Media Place Year
New media (web, blogs, podcasts, news feeds etc.) Ontologie der Musik (Claus Beisbart) philosophie.ch German-speaking Switzerland 2019
Talks/events/exhibitions Öffentliche Sitzungen des Seminars "Kunst denken - auf den Pfaden der Kunst denken ..." German-speaking Switzerland 2017
New media (web, blogs, podcasts, news feeds etc.) Tagungsbericht über "Authenticity versus Improvisation in the Philosophy of Music?" v. L.Marcaletti Webpage Gesellschaft für Musikforschung International German-speaking Switzerland 2017

Associated projects

Number Title Start Funding scheme
200690 Im Brennpunkt der Entwicklungen: Der Schweizerische Tonkünstlerverein 1975-2017 01.08.2021 Project funding (Div. I-III)
198851 Von der Fuge in Rot bis zur Zwitschermaschine. Paul Klee und die Musik 01.09.2020 Open Access Books

Abstract

Ontology of Musical Works and Analysis of Musical Practice, hereafter, the Project, proposes a new inquiry into the ontology of music. The ontology of music is its metaphysics, its identity conditions and metaphysical categorizations. We want to inquire in particular, What is a work of music? as a strategy for approaching the more general philosophical question, What is music? We want to determine first whether a work of music in traditional ontological terms is something abstract, concrete and nominal, contextualistic, a matter of metaphysical type-token relations, or something different yet again.To address such questions, we need to know among other things what it means to speak of the same work of music being played on different occasions, and in general of what is meant by true propositions describing the same or different works of music in relation especially to the question of identity conditions over multiple performances. We need to understand semantically what it means to say that two different orchestras played the same work of music at exactly the same time in different places, and what it means for the same work of music to be played at different times and places, even by the same performers using the same instruments. We also need in this connection to consider the implications of making incremental changes in time, beat and instrumentation of a composition that may begin as alternative ‘interpretations’ of a work of music, but eventually result in an unrecognizable morphing of the original work. Without adequate identity conditions for a musical work, proprietary, copyright and legal interests are also deprived of proper conceptual foundations. We aim to carry out a theoretical analysis in the domain of musical ontology. More specifically, the Project aims to define the ontological status of a musical work, as determined within a specific musical practice. Musical practice in the relevant sense in which we are interested, includes especially the following three main features: (a) existence of a refined standardized musical notation; (b) authoritative role of the musical score; and (c) notion of musical work as in an elusive sense existing independently of its collective performances.We defend these elements as essential constraints for an adequate ontology of musical works. We want to know at the end of the study what kind of thing a work of music is, how it is to be understood and defined. For methodological reasons, we begin historically in that period when an advanced musical notation has gained acceptance, which for convenience we associate with the time after Beethoven.
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