Improvvisazione e contraffatti. Circa il primato della prassi in ontologia della musica

Alessandro Bertinetto

Abstract


In this paper I discuss a particular musical practice, the contrafacture, as an interesting case of artistic appropriation. I argue that musical contrafacture, especially in the jazz field, may deflate some biased assumptions that sometimes are taken for granted – mostly in the ontologies of music based on the type/token dichotomy. The case of contrafacture may support the philosophical views endorsing the link between ontology and social-artistic practices and accepting that the ontological constructions presuppose the different practices in which they arise. I strengthen my view of the link between musical artistic practices and musical ontology by considering the nominal ontological paradox generated by improvising on jazz contrafacts.

Keywords


ontology of music and aesthetics; improvisation; contrafacture; type/token ontology; musical work; jazz

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DOI: http://dx.doi.org/10.13128/Aisthesis-14098



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