John Andrew Fisher
نویسنده
چکیده
Some aestheticians, e.g., Peter Kivy,' are Platonists about pieces of music. They hold that a piece of music is the sound structure indicated by the notation, and that performances are (or, present) tokens of the sound structure, i.e., tokens of a type. Other philosophers, e.g., Jerrold Levinson, deny this; in Kivy's terminology they are anti-Platonists. Levinson holds that the essential characteristics of a piece of music are a function of its compositional context in addition to its sound structure.2 One of the most important arguments against the Platonic view involves the claim that pieces of music are created not discovered. They are brought into existence by the composer, whereas sound structures, like mathematical objects and theorems, have a timeless existence that makes it logically possible for them to be discovered at any time. Hence musical works cannot be identical to sound structures. Hence Platonism is wrong. As a convinced Platonist about music, Kivy is compelled to deny the creativity argument. He claims that "it is more plausible to think of musical works as discoveries, rather than creations."3 I will argue that this is mistaken. I believe that pieces of music are, with respect to their origin, similar to other works of art, and that works of art in general are not discovered. Musical works are composed, and composition is not plausibly thought of as a discovery. In arguing for this thesis, I will focus on the act of discovery. We have a much better understanding of the concept of discovery than we do of the concept of artistic "creation." Creation seems to be just a place marker for our difficulty in conceptualizing the relation of artists to their works. Hence, to become clearer about whether musical works, like theorems of mathematics, are discovered is to become clearer about the relation of composers to their music. I have little to say directly about Platonism. If to deny that pieces of music are discovered is to deny Platonism,4 then my argument supports Levinson's antiPlatonism about musical works.5
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