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The Journal of Philosophy

Volume 100, Issue 4, April 2003

Aaron Ridley
Pages 203-220
DOI: 10.5840/jphil200310046

Against Musical Ontology

Cited by

  • Monika Pietras, Lyn Robinson. Library Review. Three views of the “musical work”: bibliographical control in the music domain 2012. [CrossRef]
  • Andrew Kania. New Waves in Aesthetics 2008: 20. [CrossRef]
  • Julian Dodd. Philosophy Compass. Musical Works: Ontology and Meta-Ontology 2008. [CrossRef]
  • Jacques Steyn. Structuring Music through Markup Language 2013: 1. [CrossRef]
  • Aaron Ridley. Royal Institute of Philosophy Supplement. Brilliant Performances 2012. [CrossRef]
  • Guy Rohrbaugh. Australasian Journal of Philosophy. Why Play the Notes? Indirect Aesthetic Normativity in Performance 2019. [CrossRef]
  • Alessandro Arbo. Journal of New Music Research. From the document to the work: Ontological reflections on the preservation and restoration of musical artefacts 2018. [CrossRef]
  • Ismay Barwell, Justine Kingsbury. History of Philosophy in Australia and New Zealand 2014: 479. [CrossRef]
There may be additional citations on Google Scholar.