Ontological picture of a musical work: i.

open concept with original and derivative employment

ii.correlated to the ideals of a practice iii.a regulative concept iv.a projective concept v.an emergent concept
I) open concept •work-as-object rather than work-as-concept •neitzsche: 'only that which has no history is definable' •1.openness relates to the multiple uses of a concept •2.open/closed distinction requires a rejection of essentialist concepts

•3.concepts must be defined IN THEIR CONTEXT -- these contexts are not
known a priori therefore concepts cannot be defined a priori! •closed concept != essentialist •closed concept -> boundary conditions •open concept != boundary conditions •open concept -> standards and continuity

Ideals •Open concepts lack defining properties but still have paradigm examples (morris weitz)

•musical work having institutionalized centrality
•paradigm examples dictated by needs and purposes •"ideals are what we strive towards within our practices"

THAT is the key •work as 'product existing over and above its performance [as] the primary point (telos) for musical activity'! Another parallel: Goehr's definition is in part institutional in that 'paradigm examples' of musical works function as ideals used to regulate musical practice . musical works are posited as existants •iii) succesful positing of works confirms the effective functioning of the regulative concept of a work within this practice •there existed concepts of composition performance and notation [continuity] BUT their significance and interrelatedness differ across the 1800 boundary that goehr posits --. but not before! --.the work-concept was regulative after.identity conditions exst as mattters of logic •ideals/regulative concepts seem to be givens because they have been fossilized by years of practice •artificial concepts get their regulatory power by being thought of as absolute Musical work-concept •as regulation.Identity conditions vs ideals •identity conditions are 'mis-translations of ideals that exist within classical music practice' •eg perfect compliance to the score as an ideal but not an identity condition •ideals are connected to practice -. it posits musical works as objects •three premises •i) the practice of classical music functions in line with a complex theory about what the practice is and should be like •ii) within that theory.

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