Dr. Andrew Kania

Dr. Andrew Kania

On Saturday morning philosopher Andrew Kania from Trinity University in San Antonio, TX, addresses ontological questions in the philosophy of jazz.

Andrew Kania’s principal research is in the philosophy of music, film, and literature. He is particularly interested in how the nature of different kinds of artistic entities (e.g. musical works, performances, and recordings; or narrative literature and film) affects our appreciation of them.

He has a subsidiary interest in the philosophy of sex, gender, and sexuality and is also a faculty member in Women and Gender Studies at Trinity University.

He has written extensively on aesthetics and musical ontology, and you can see a list with abstracts of many of Dr. Kania’s publications at Philpapers or read his articles at Trinity University’s Digital Commons.

Here’s some notable publications with a select list following EDUCATION.

  • “Philosophy of Music” in the Stanford Encyclopedia of Philosophy
  • The Routledge Companion to Philosophy and Music, co-edited with Theodore Gracyk, (Routledge, 2011)
  • Memento (Philosophers on Film), (Routledge, 2009)

  • Ph.D. (Philosophy),
    University of Maryland, College Park (2005).  Dissertation: “Pieces of Music: The Ontology of Classical, Rock, and Jazz Music”
  • M.A. with first class honours (Philosophy), University of Auckland, New Zealand (1999).  Thesis: “Not Just for the Record: A Philosophical Analysis of Classical Music Recordings”
  • AIKOM Study Abroad Program, University of Tokyo, Komaba (1996)
  • B.A. (Philosophy and English), University of Auckland, New Zealand (1996)
  • PUBLICATIONS (very partial list):

  • “An Imaginative Theory of Musical Space and Movement,”British Journal of Aesthetics, Vol. 55, 2015, pp. 157-172.
  • “Platonism vs. Nominalism in Contemporary Musical Ontology,” in C. M. Uidhir (ed.), Art and Abstract Objects, Oxford, UK: Oxford University Press, 2013, pp. 197-212.
  • “All Play and No Work: An Ontology of Jazz,” The Journal of Aesthetics and Art Criticism, Vol. 69, 2011, pp. 391-403.
  • “Silent Music,” Journal of Aesthetics and Art Criticism 68 (2010): 343-53.
  • “New Waves in Musical Ontology,” in K. Stock & K. Thomson-Jones (eds.), New Waves in Aesthetics, 2008, pp. 20-40.
  • “The Methodology of Musical Ontology: Descriptivism and Its Implications,” British Journal of Aesthetics, Vol. 48, 2008, pp. 426-444.
  • “Works, Recordings, Performances: Classical, Rock, Jazz,” in M. Doğantan-Dack (ed.), Recorded Music: Philosophical and Critical Reflections, London, England: Middlesex University Press, 2008, pp. 3-21.

  • 2011 Trinity University Junior Faculty Award for Distinguished Teaching and Research
  • Awarded the 2008 Inaugural British Society for Aesthetics (Annual Conference) Essay Prize for “The Methodology of Musical Ontology: Descriptivism and its Implications”
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