tag:blogger.com,1999:blog-33505278.post4517705111634929669..comments2023-09-25T08:34:35.073-06:00Comments on Texas Tech Philosophers: Contemporary AestheticsAnna Christina Ribeirohttp://www.blogger.com/profile/06836932004146803773noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-33505278.post-76271405744585493232007-08-05T19:32:00.000-06:002007-08-05T19:32:00.000-06:00I think this was easy enough to figure out!My pape...I think this was easy enough to figure out!<BR/><BR/>My paper topic deals with the ontology of a musical work, and I am particularly interested in Levinson's essays on "What a Musical Work Is."<BR/><BR/>In his second essay "What a Musical Work is, Again," Levinson is further clarifying "performance" vs. "instance" of a musical work. In this discusson (p.239) Levinson discusses VIRTUOSITY as a property of a Handel oboe concerto [a topic dear to my heart, needless to say ;-)]. <BR/><BR/>Aside from the nagging yet tempting opportunity to question what "Virtuosity" entails, I have another question. :-)<BR/><BR/>It appears to me that Levinson discusses VIRTUOSITY as an intrinsic property of the work, which I find strange. I consider pieces challenging, but it is always the performance, or the act of the performer, where I think virtuosity exists. <BR/><BR/>I would be interested to hear your thoughts on this subject. (or if I am way off in my interpretation!)<BR/><BR/>-Meredith Morrow (Ware)Meredith Morrowhttps://www.blogger.com/profile/04797891279362335054noreply@blogger.com