9 melodii ludowych na gitarę (Guitar Scores) by Witold Lutosławski

By Witold Lutosławski

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It is also fair to point out that these conditions are nothing other than properties: a condition that something must meet to be a (properly formed) token of a type is, after all, a property or set of properties that it must have. Naturally, at this point, Quineans will smell a rat. For Quine has famously argued that it is impossible to provide non-circular identity conditions for properties (1960: 209); hence, a Quinean will charge the supporter of types with being similarly unable to do the same for his chosen entities.

Items that possess their intrinsic properties necessarily, and which are incapable of change in these properties through time). In Chapter 3, meanwhile, we shall see that types, by their very nature, are eternally existent entities: items that exist at all times. Needless to say, these results place a new complexion upon the type/token theory. Works of music, qua types, turn out to be structureless, fixed, unchanging, eternal entities. But not to worry. Chapters 4 and 5 will point out that these consequences turn out to be a very small price to pay for a theory that so nicely explains what it is for a musical work to be capable of multiple instantiation.

For one thing that is plain is that the nominalist must come up with different styles of paraphrase for (1), (2), and (3). Clearly, someone sincerely uttering (2) need not commit herself to every performance of the piece setting people’s teeth on edge (Wolterstorff 1970: 251). The claim, rather, is more likely to be that (10) Most performances of Bartok’s Fifth Quartet set people’s teeth on edge. And when it comes to (3), it is clear that the sentence has both descriptive and normative readings, and hence must have two nominalistic paraphrases (Snoeyembos 1979: 383–4).

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