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MusPhilShef Libre
MusPhilShef Libre
improvisa,on‐driven music systems be musical works?
Mark A. C. Summers, Department of Music, University of Sheffield, m.summers@sheffield.ac.uk
All works
MWc
MWa References
1. S. Davies (2001). Musical works and performances: a philosophical
MW elements Improviser System Speaker
explora6on. Oxford: Clarendon Press.
2. L. Goehr (1992). The imaginary museum of musical works: an essay in
the philosophy of music. Oxford: Clarendon Press.
• Music is made of sounds [5] Listener 3. R. Ingarden (1986). The work of music and the problem of its iden6ty.
• MW have many elements, but very few are common to all, i.e. Berkeley: University of California Press.
• Systems are not complete without an improviser.
• Many cons`tu`ve elements • Resul`ng music is a combina`on of improviser input and system output. 4. P. Kivy (1983). Platonism in music: a kind of defence. Grazer
• Precise sound structures are only defined during performances as a Philosophische Studien, 19, p. 109‐29.
• Few essen`al elements [1]
result of the improvisa`on. 5. J. Levinson (2011). Music, art, and metaphysics: essays in philosophical
• Davies’ [1] discusses elements but is (typically) stylis`cally exclusive .
• System creator olen treated in same manner as composer, improviser aesthe6cs. 2nd ed. Oxford: OUP.
• One element common to most theories is Sound Structures (SS) . as performer of a work. 6. N. Wolterstorff (1975). Towards an ontology of artworks. Noûs, 9 p.
• Possibly a way to dis`nguish MW from non‐MW • However, following discussion above, an IDMS is not necessarily a MW. 115‐42
RMA MPSG workshop on philosophy and human+computer music, University of Sheffield, 4 July 2014.