This paper addresses the following problem: to what extent do ontological considerations about musical works affect our evaluation of performances of those works? I argue for the claim that at least some important grounds on which performances are evaluated are specific to them, in that these grounds are either independent from, or related but not fully determined by, the properties of the works they are of. In the first part of the paper, I explore the relations between good-making features of (...) works and of performances of them. The second and third parts develop two kinds of example in favour of the claim above. In the last part, I discuss the significance of those examples in relation to the ways in which performances are assessed, and explore some further ramifications of them. (shrink)

This is the first of a series of papers in which I present a defense of moderate objectivism about the evaluation of performances of musical works in the Western classical tradition.

The concept of authenticity as a predicate of performances of musical works is discussed in the context of the Western classical tradition.I claim that the concept of a performance of a musical work raises issues of relativity and indeterminacy, since its application is not completely free from music-historical contextuality and from considerations of aesthetic value.I challenge the argument for the necessity of authenticity in performance that eschews the problem of determining the extension of the concept authentic performance of a work' (...) by reducing the concept to that of the correct instantiation of that work.I suggest that the way the present socio-musical context defines the boundaries of correction and authenticity in performance derives from a balance, and a tension, between two types of interest in performance as an artistic practice: an interest in the performed work as the artistic product of its composer, which favours fidelity to the work; and an interest in the performance as the artistic product of the performer, which favours the latter's creative freedom.I argue for the relevance of certain moral obligations to composers on the part of performers, but also for the defeasible character of these obligations, thus blocking the view according to which historical authenticity is an absolute moral imperative.I distinguish personal authenticity, as creativity and sincerity on the part the performer, from historical authenticity, as the performance's faithfulness to the work performed, to its composer, or to the sound, performance practice or musical experience that were typical of the work's original context. I argue against the view that the historically authentic performance has an advantage over other kinds of performance in terms of propensity to generate more aesthetically successful results.The promotion of historical authenticity by the historically informed performance movement is analyzed as artistic ideology and practice. I conclude that the priority of historical authenticity is not a defensible artistic ideal, since it is ultimately incompatible with aesthetic priorities. (shrink)

Este artigo aborda as principais teorias sobre a natureza metafísica das obras de arte, cobrindo as propostas eliminativistas, monistas e pluralistas. Entre estas últimas, é dado destaque ao trabalho sobre a ontologia das artes performativas, e em particular, da música. Termina-se com uma referência à recente viragem da discussão para o campo da meta-ontologia e a polémica sobre a plausibilidade do revisionismo ontológico no caso de artefactos ou objectos sociais.

O artigo parte do consenso sobre a facto de que a arte tem valor para a exploração dos vários problemas sobre esse valor cujas soluções dividem os filósofos da arte. O enfoque é especialmente sobre a dimensão mais actual do debate em torno do tema, que se debruça não tanto sobre questões como o realismo quanto aos valores estéticos e a objectividade e justificação dos juízos de valor estético, mas acima de tudo sobre a natureza do valor artístico – que (...) tipo de valor é e em que propriedades da arte (se nalguma) reside. (shrink)

The paper addresses the issue of ethical obligations in the performance of musical works in the Western classical tradition, arguing that there are indeed such obligations, although they are not categorical. -/- PT: Na tradição clássica ocidental, as obras de arte musicais, teatrais e, até certo ponto, as coreografias, são criadas por artistas-autores, mas necessitam de ser executadas por intérpretes (instrumentistas, cantores e maestros, actores e encenadores, bailarinos, etc.). Estes são assim chamados porque existe sempre uma dose de descricionariedade, não (...) só nas suas decisões sobre o que as instruções inscritas na notação por parte do autor querem "realmente" dizer, como ainda acerca dos muitos aspectos necessária ou voluntariamente deixados em aberto por ele. Limitando-nos aos casos em que é evidente ou relativamente claro que o autor favorece, directamente ou por via das convenções artísticas por si tacitamente aceites, uma forma de interpretação da sua obra entre outras, debruço-me sobre a questão de saber se, para além das considerações estéticas integrantes da decisão de respeitar total ou parcialmente essa forma, há também considerações especificamente morais que sejam relevantes para tal decisão. Os tratamentos filosóficos desta questão tiveram alguma expressão nos anos 80 e 90, sobretudo a propósito do movimento da interpretação musical historicamente correcta ou informada de obras de épocas com as quais se estava a recuperar o contacto perdido em termos de modos de execução e instrumentos específicos dessas épocas. Curiosamente, contrastando com o debate entre a crítica de arte, o debate filosófico é muito menos vivo numa actualidade marcada pelo ecletismo pós-moderno que, sobretudo no teatro e na ópera, trata mesmo os aspectos mais estruturantes das obras como completamente opcionais, ou as obras elas as próprias como materiais para fusão, reconstrução ou improvisação. Revisitando os argumentos em torno do tópico, defenderei a prevalência da posição segundo a qual há uma dimensão moral nas artes performativas, mas que as obrigações daí resultantes não são todas categóricas, tendo diferentes graus de força, e devem ser entendidas como uma variável que tem de ser, em cada caso, ponderada lado a lado com as considerações estéticas. (shrink)

The concept of authenticity as a predicate of performances of musical works is discussed in the context of the Western classical tradition.I claim that the concept of a performance of a musical work raises issues of relativity and indeterminacy, since its application is not completely free from music-historical contextuality and from considerations of aesthetic value.I challenge the argument for the necessity of authenticity in performance that eschews the problem of determining the extension of the concept authentic performance of a work' (...) by reducing the concept to that of the correct instantiation of that work.I suggest that the way the present socio-musical context defines the boundaries of correction and authenticity in performance derives from a balance, and a tension, between two types of interest in performance as an artistic practice: an interest in the performed work as the artistic product of its composer, which favours fidelity to the work; and an interest in the performance as the artistic product of the performer, which favours the latter's creative freedom.I argue for the relevance of certain moral obligations to composers on the part of performers, but also for the defeasible character of these obligations, thus blocking the view according to which historical authenticity is an absolute moral imperative.I distinguish personal authenticity, as creativity and sincerity on the part the performer, from historical authenticity, as the performance's faithfulness to the work performed, to its composer, or to the sound, performance practice or musical experience that were typical of the work's original context. I argue against the view that the historically authentic performance has an advantage over other kinds of performance in terms of propensity to generate more aesthetically successful results.The promotion of historical authenticity by the historically informed performance movement is analyzed as artistic ideology and practice. I conclude that the priority of historical authenticity is not a defensible artistic ideal, since it is ultimately incompatible with aesthetic priorities. (shrink)

The paper offers some arguments in favour of the view that there are aesthetic properties of performances of works of Western classical music that always count as good-making features of such performances.

As in other domains of art, the assessment of performances or interpretations of musical works is largely considered as a matter of personal taste. In Evaluating Musical Performance, Jerrold Levinson argues that relativism, in this matter, depends on the many interests with which a performance can be faced, and, consequently, evaluated and assessed. My thesis in this article is that not all interests have the same importance and that there is a “purely musical” perspective that must prevail over the other (...) interests. This way I try to diminish the so called relativism. (shrink)

Lopes_The Routledge companion to Philosophy and Music, by Kania and Gracyk.