Philosophy of the Performing Arts

Preface and Acknowledgments.
<p>Part One Performance and the Classical Paradigm.</p>
<p>1 The Nature of Artistic Performance.</p>
<p>1 Introduction.</p>
<p>2 What is a Performance?</p>
<p>3 Institutional Theories of Artistic Performance.</p>
<p>4 Aesthetic Theories of Artistic Performance.</p>
<p>5 Artistic Performance and Artistic Regard.</p>
<p>6 Overview.</p>
<p>2 The Classical Paradigm I: The Nature of the Performable Work.</p>
<p>1 Introduction: Berthold and Magda Go to the Symphony.</p>
<p>2 The Multiple Nature of Performable Works.</p>
<p>3 Performable Works as Types.</p>
<p>4 Varieties of Type Theories: Sonicism, Instrumentalism, and Contextualism.</p>
<p>5 Other Theories of the Performable Work.</p>
<p>3 The Classical Paradigm II: Appreciating Performable Works in Performance.</p>
<p>1 Introduction: Talking Appreciatively about Performable Works.</p>
<p>2 Can Performable Works Share Artistic Properties with Their Performances?</p>
<p>3 The Goodman Argument.</p>
<p>4 Answering the Goodman Argument.</p>
<p>4 Authenticity in Musical Performance.</p>
<p>1 Introduction.</p>
<p>2 Authenticity in the Arts.</p>
<p>3 Three Notions of Historically Authentic Performance.</p>
<p>5 Challenges to the Classical Paradigm in Music.</p>
<p>1 Introduction: The Classical Paradigm in the Performing Arts.</p>
<p>2 The Scope of the Paradigm in Classical Music.</p>
<p>3 Jazz, Rock, and the Classical Paradigm.</p>
<p>4 Non–Western Music and the Classical Paradigm.</p>
<p>6 The Scope of the Classical Paradigm: Theater, Dance, and Literature.</p>
<p>1 Introduction: Berthold and Magda Go to the Theater.</p>
<p>2 Theatrical Performances and Performable Works.</p>
<p>3 Challenges to the Classical Paradigm in Theater.</p>
<p>4 Dance and the Classical Paradigm.</p>
<p>5 The Novel as Performable Work?</p>
<p>Part Two Performance as Art.</p>
<p>7 Performances as Artworks.</p>
<p>1 Introduction: Spontaneous Performance in the Arts.</p>
<p>2 The Artistic Status of Performances Outside the Classical Paradigm.</p>
<p>3 The Artistic Status of Performances Within the Classical Paradigm.</p>
<p>8 Elements of Performance I: Improvisation and Rehearsal.</p>
<p>1 Introduction.</p>
<p>2 The Nature of Improvisation.</p>
<p>3 Improvisation and Performable Works: Three Models.</p>
<p>4 Improvisation and Recording.</p>
<p>5 The Place of Rehearsal in the Performing Arts.</p>
<p>9 Elements of Performance II: Audience and Embodiment.</p>
<p>1 Can There Be Artistic Performance Without an Audience?</p>
<p>2 Audience Response.</p>
<p>3 The Embodied Performer and the Mirroring Receiver.</p>
<p>10 Performance Art and the Performing Arts.</p>
<p>1 Introduction.</p>
<p>2 Some Puzzling Cases.</p>
<p>3 What is Performance Art?</p>
<p>4 When Do Works of Performance Art Involve Artistic Performances?</p>
<p>5 Performance as Art: A Final Case.</p>
<p>References.</p>
<p>Index.</p>