Abstract In his article “The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types,” Nemesio Puy raises a hypothesis that continuity of the purpose is both a necessary and a sufficient condition for musical work’s identity. Puy’s hypothesis is relevant to two topics in cognitive psychology and experimental philosophy. The first topic is the prevalence of teleological reasoning about various objects and its influence on persistence and categorization judgments. The second one is the importance of an artist’s intention in the categorization of artworks. We tested the teleological hypothesis across three studies. Vignettes in these three studies describe a musical work being changed in some of these aspects: (1) purpose either changed or retained; (2) score either changed or retained; (3) change is made either by the same or a different composer. The results suggest that teleological considerations impact judgments on the persistence of musical works, but this impact appears to be relatively weak. The results also suggest that persistence judgments strongly depend on whether acoustical properties were changed, while whether the change was made by the original composer seems to be relatively unimportant.

中文翻译：

---

目的论思维在音乐作品持久性判断中的作用

摘要 在他的文章“音乐版本的本体：介绍嵌套类型的假设”中，Nemesio Puy 提出了一个假设，即目的的连续性既是音乐作品身份的必要条件，也是充分条件。Puy 的假设与认知心理学和实验哲学中的两个主题相关。第一个主题是关于各种对象的目的论推理的普遍性及其对持久性和分类判断的影响。第二个是艺术家的意图在艺术品分类中的重要性。我们在三项研究中检验了目的论假设。这三项研究中的小插曲描述了音乐作品在以下某些方面发生了变化：（1）目的改变或保留；(2) 分数改变或保留；(3) 由同一作曲家或不同作曲家作曲。结果表明，目的论考虑会影响对音乐作品持久性的判断，但这种影响似乎相对较弱。结果还表明，持久性判断在很大程度上取决于声学特性是否发生了变化，而是否由原作曲家做出的变化似乎相对不重要。