Part One Performance and the Classical Paradigm.
1 The Nature of Artistic Performance.
2 What is a Performance?
3 Institutional Theories of Artistic Performance.
4 Aesthetic Theories of Artistic Performance.
5 Artistic Performance and Artistic Regard.
2 The Classical Paradigm I: The Nature of the Performable Work.
1 Introduction: Berthold and Magda Go to the Symphony.
2 The Multiple Nature of Performable Works.
3 Performable Works as Types.
4 Varieties of Type Theories: Sonicism, Instrumentalism, and Contextualism.
5 Other Theories of the Performable Work.
3 The Classical Paradigm II: Appreciating Performable Works in Performance.
1 Introduction: Talking Appreciatively about Performable Works.
2 Can Performable Works Share Artistic Properties with Their Performances?
3 The Goodman Argument.
4 Answering the Goodman Argument.
4 Authenticity in Musical Performance.
2 Authenticity in the Arts.
3 Three Notions of Historically Authentic Performance.
5 Challenges to the Classical Paradigm in Music.
1 Introduction: The Classical Paradigm in the Performing Arts.
2 The Scope of the Paradigm in Classical Music.
3 Jazz, Rock, and the Classical Paradigm.
4 Non-Western Music and the Classical Paradigm.
6 The Scope of the Classical Paradigm: Theater, Dance, and Literature.
1 Introduction: Berthold and Magda Go to the Theater.
2 Theatrical Performances and Performable Works.
3 Challenges to the Classical Paradigm in Theater.
4 Dance and the Classical Paradigm.
5 The Novel as Performable Work?
Part Two Performance as Art.
7 Performances as Artworks.
1 Introduction: Spontaneous Performance in the Arts.
2 The Artistic Status of Performances Outside the Classical Paradigm.
3 The Artistic Status of Performances Within the Classical Paradigm.
8 Elements of Performance I: Improvisation and Rehearsal.
2 The Nature of Improvisation.
3 Improvisation and Performable Works: Three Models.
4 Improvisation and Recording.
5 The Place of Rehearsal in the Performing Arts.
9 Elements of Performance II: Audience and Embodiment.
1 Can There Be Artistic Performance Without an Audience?
2 Audience Response.
3 The Embodied Performer and the Mirroring Receiver.
10 Performance Art and the Performing Arts.
2 Some Puzzling Cases.
3 What is Performance Art?
4 When Do Works of Performance Art Involve Artistic Performances?
5 Performance as Art: A Final Case.
“This is a remarkable and remarkably useful book, and for much the same reason … The other result is that professionals in the philosophy of art will have to rise to the challenge. Davies has set the bar very high.” (Oxford Journals Clippings, 4 May 2012)"Philosophy of the Performing Arts is a careful and detailed study in analytic philosophical aesthetics ... Summing Up: Highly recommended. Graduate students through professional/practitioners." (Choice, 1 January 2012)