In contemporary music, the recorded track is the musical object that listeners encounter the most. Some philosophers, like Theodore Gracyk and Andrew Kania, have taken this to mean that the track is the work of art in contemporary music. Evidence for this is the importance that many musicians put on production of the track. So much so that producers become important contributors to the musical product.
Other philosophers, like Dan Burkett, Chris Bartel, and myself, have argued that song and performance are also works worthy of aesthetic attention. So there’s a plurality of works associated with every particular record.
In a recent interview with Rick Beato, the pioneering producer Todd Rundgren reflected on the importance of the track.1 He doesn’t side either with the track-centric view or with open-ended pluralism.
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