Vol. 6 No. 3 (2013): Vol 6 (2013) Special Issue – Ontologie musicali
Articles

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

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  • Alessandro Bertinetto
DOI: https://doi.org/10.13128/Aisthesis-14098

Published 2014-02-26

Keywords

  • ontology of music and aesthetics,
  • improvisation,
  • contrafacture,
  • type/token ontology,
  • musical work

How to Cite

Bertinetto, A. (2014). Improvvisazione e contraffatti. Circa il primato della prassi in ontologia della musica. Aisthesis. Pratiche, Linguaggi E Saperi dell’estetico, 6(3), 101–132. https://doi.org/10.13128/Aisthesis-14098
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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.
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