Form matters: an ontology of music
| dc.contributor.author | Dyck, Harley | |
| dc.contributor.examiningcommittee | Matheson, Carl (Philosophy) | en_US |
| dc.contributor.examiningcommittee | Mahrenholz, Simone (Philosophy) | en_US |
| dc.contributor.supervisor | Murray, Adam (Philosophy) | en_US |
| dc.date.accessioned | 2022-02-11T17:26:38Z | |
| dc.date.available | 2022-02-11T17:26:38Z | |
| dc.date.copyright | 2022-02-11 | |
| dc.date.issued | 2022-02-04 | en_US |
| dc.date.submitted | 2022-02-05T06:53:40Z | en_US |
| dc.date.submitted | 2022-02-11T17:06:00Z | en_US |
| dc.degree.discipline | Philosophy | en_US |
| dc.degree.level | Master of Arts (M.A.) | en_US |
| dc.description.abstract | In this thesis, I develop a hylomorphic view of musical works and argue that it proves more explanatorily successful than rival metaphysical accounts. I begin by presenting general concepts of hylomorphism, before tackling the question of specifically musical hylomorphism. Some candidates for the matter and form of musical works are rejected; I propose that the matter of musical works is note-types, and that the form is "semblance," a specific notion developed by Susanne Langer. I end by presenting the benefits of this view, namely its avoidance of difficulties faced by competing metaphysical accounts and its corresponding elegance in explaining various facts about musical works, such as their repeatability, creatability, and expression. | en_US |
| dc.description.note | March 2022 | en_US |
| dc.identifier.uri | http://hdl.handle.net/1993/36297 | |
| dc.language.iso | eng | en_US |
| dc.rights | open access | en_US |
| dc.subject | Hylomorphism | en_US |
| dc.subject | Ontology of music | en_US |
| dc.subject | Susanne K. Langer | en_US |
| dc.subject | Semblance | en_US |
| dc.subject | Philosophy of music | en_US |
| dc.subject | Musical expression | en_US |
| dc.title | Form matters: an ontology of music | en_US |
| dc.type | master thesis | en_US |