Philosophy of the performing arts. (2011)

• Record Type: Book
• Further Information: Note: David Davies.
• Other Names: Davies, David, 1949-
• Contents: Part I: Performance and the Classical Paradigm. Chapter 1 The Nature of Artistic Performance. I Introduction. II What is a performance? III ‘Institutional’ theories of artistic performance. IV ‘Aesthetic’ theories of artistic performance. V Artistic performance and ‘artistic regard’. VI Overview. Chapter 2 The Classical Paradigm I: The Nature of the Performable Work. I Introduction: Berthold and Magda go to the symphony. II The ‘multiple’ nature of performable works. III Performable works as ‘types’. IV Varieties of ‘type’ theories: sonicism, instrumentalism, and contextualism. V Other theories of the performable work. a/ Performable works as ‘indicated’ types. b/ Performable works as ‘continuants’. c/ Performable works as indicatings of types. d/ Fictionalism about performable works. Chapter 3 The ‘Classical Paradigm’ II: Appreciating Performable Works in Performance. I Introduction: talking appreciatively about performable works. II Can performable works share artistic properties with their performances? III The ‘Goodman argument’ . IV Answering the ‘Goodman argument’. Chapter 4 Authenticity in Musical Performance. I Introduction. II ‘Authenticity’ in the arts. III Three notions of historically authentic performance. a/ Authenticity defined in terms of composer’s intentions. b/ Authenticity defined in terms of the ‘sound’ of the work. c/ Authenticity defined in terms of performance practice. Chapter 5 Challenges to the Classical Paradigm in Music. I Introduction: The classical paradigm in the performing arts. II The scope of the paradigm in classical music. III Jazz, rock, and the classical paradigm. a/ Jazz. b/ Rock. IV Non-Western music and the classical paradigm. Chapter 6 The Scope of the Classical Paradigm: Theatre, Dance, and Literature. I Introduction: Berthold and Magda go to the theatre. II Theatrical performances and performable works. III Challenges to the classical paradigm in theatre. IV Dance and the classical paradigm. V The novel as performable work? Part II: Performance as Art . Chapter 7 Performances as Artworks. I Introduction: spontaneous performance in the arts. II The artistic status of performances outside the classical paradigm. III The artistic status of performances within the classical paradigm. Chapter 8 Elements of Performance I: Improvisation and Rehearsal. I Introduction. II The nature of improvisation. III Improvisation and performable works: three models. a/ Improvisation on a theme. b/ Improvisational composition. c/ Pure improvisation. IV Improvisation and recording. V The place of rehearsal in the performing arts. Chapter 9 Elements of Performance II: Audience and Embodiment. I Can there be artistic performance without an audience? II Audience response. III The embodied performer and the ‘mirroring’ receiver. Chapter 10 ‘Performance Art’ and the Performing Arts. I Introduction. II Some puzzling cases. III What is ‘performance art’? IV When do works of ‘performance art’ involve artistic performances? V Performance as art: a final case. Bibliography. Index .
• Publisher Details: Place of publication not identified : Wiley-Blackwell
• Publication Date: 2011
• Extent: 1 online resource (248 pages)
• Subjects: 790.2; Performing arts -- Philosophy
• Languages: English
• ISBNs: 9781444343441
• Access Rights: Legal Deposit; Only available on premises controlled by the deposit library and to one user at any one time; The Legal Deposit Libraries (Non-Print Works) Regulations (UK).
• Access Usage: Restricted: Printing from this resource is governed by The Legal Deposit Libraries (Non-Print Works) Regulations (UK) and UK copyright law currently in force.