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  1. Daniel Albright (2000). Untwisting the Serpent: Modernism in Music, Literature, and Other Arts. University of Chicago Press.
    From its dissonant musics to its surrealist spectacles (the urinal is a violin!), Modernist art often seems to give more frustration than pleasure to its audience. In Untwisting the Serpent, Daniel Albright shows that this perception arises partly because we usually consider each art form in isolation, even though many of the most important artistic experiments of the Modernists were collaborations involving several media--Igor Stravinsky's The Rite of Spring is a ballet, Gertrude Stein's Four Saints in Three Acts is an (...)
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  2. Nora M. Alter & Lutz P. Koepnick (eds.) (2004). Sound Matters: Essays on the Acoustics of Modern German Culture. Berghahn Books.
    ... composed by Herms Niel as a Durchhaltefanfare, a fanfare of perseverance, for the German troops that had been surrounded on the Crimea peninsula by ...
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  3. Violaine Anger & Jan Willem Noldus (eds.) (2005). Le Sens de la Musique: 1750-1900: Vivaldi, Beethoven, Berlioz, Liszt, Debussy, Stravinski. Rue D'Ulm.
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  4. F. G. Asenjo (1966). Polarity and Atonalism. Journal of Aesthetics and Art Criticism 25 (1):47-52.
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  5. Daniel Barenboim (2009). Music Quickens Time. Verso.
    In this eloquent book, Daniel Barenboim draws on his profound and uniquely influential engagement with music to argue for its central importance in our everyday lives.
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  6. Daniel Barenboim (2008). Everything is Connected: The Power of Music. Weidenfeld & Nicolson.
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  7. John H. Baron (1973). A. W. Schlegel's Mystic Principle and the Music of Beethoven. Journal of Aesthetics and Art Criticism 31 (4):531-537.
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  8. Carolyn Beckingham (2009). Moribund Music: Can Classical Music Be Saved? Sussex Academic Press.
    What's wrong with music? -- A century of cultural earthquakes -- Crossover music : help or hindrance? -- Opera : a special case? -- Are schools the solution? -- Where do we go from here?
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  9. Mark Berry (2002). Music, Postmodernism, and George Rochberg's Third String Quartet. In Judith Irene Lochhead & Joseph Henry Auner (eds.), Postmodern Music/Postmodern Thought. Routledge 235--248.
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  10. Tom Cochrane (2010). Using the Persona to Express Complex Emotions in Music. Music Analysis 29 (1-3):264-275.
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  11. Stephen Davies (1999). Rock Versus Classical Music. Journal of Aesthetics and Art Criticism 57 (2):193-204.
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  12. Eduardo De La Fuente (2010). Paradoxes of Communication: The Case of Modern Classical Music. Empedocles: European Journal for the Philosophy of Communication 1 (2):237-250.
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  13. Andreas Dorschel (2015). Mundrys Nuancen. In Heike Hoffmann (ed.), Salzburg Biennale 2015. Salzburg Biennale 62-64.
    The production of artworks can be based on a fixed modus operandi, i.e., on a general manner and, alongside, specific patterns to be applied all over again. Alternatively, each artwork can be seen as (cor-)responding to an individual problem for which there is no recipe; in this case it needs to be looked at afresh. That approach characterizes the aesthetics of music composer Isabel Mundry (*1963); her art, ever unpredictable, is one of nuances.
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  14. Andreas Dorschel (2013). Aesthetics of Conducting: Expression and Gesture. In Jean Paul Olive & Susanne Kogler (eds.), Expression et geste musical. L'Harmattan 65-73.
    Expression in orchestral music is a matter of conductors rather than orchestras. Why should that be so? The straightforward answer seems to be that expression is bound to the individual self. But, then, does it have to be? Collective expression of, e.g., anger, rage or protest is not at all unusual in the public domain of politics. Our intuition of conductors’ expressive primacy could be salvaged if we were to conceive of orchestras as their instruments. But that will not do. (...)
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  15. Andreas Dorschel (2012). Einführung zu den Schriften [Richard Wagners]. In Laurenz Lütteken (ed.), Wagner Handbuch. Bärenreiter 110-117.
    In his writings, Richard Wagner imagines art as something natural. This paradox was only befitting for Wagner’s contradictory historical stance: that of an eminently modern artist loathing the modern world. For him, nature served as a yardstick apt to find the modern world deficient on all counts. But how can something ahistorical, nature, be used to judge a historical phenomenon, modernity? To arrive at the verdict Wagner was keen on, he had to fill his concept of nature with historical content (...)
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  16. Andreas Dorschel (2011). Individualism for the Masses: Aesthetic Paradox in Mahler’s Symphonic Thought. In Elisabeth Kappel (ed.), The Total Work of Art: Mahler’s Eighth Symphony in Context. Universal Edition 46-60.
    In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic work (...)
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  17. Andreas Dorschel (2010). Die Idee des Konservatoriums. In Laurenz Lütteken (ed.), Mendelssohns Welten. Bärenreiter 89-108.
  18. Andreas Dorschel (2010). Der ‘Kunstregelbau’. Kontrapunktik in Max Webers Fragment Zur Musiksoziologie. In Ulrich Tadday (ed.), Philosophie des Kontrapunkts. Edition Text + Kritik 135-142.
    In his social theory, Max Weber (1864 – 1920) attempts to identify patterns that have distinguished Western rationality. Music, he argues, is one of the domains that exhibit such structures. As a specific instance, Weber cites counterpoint as developed in 15th century Europe and – so he claims – culminating in Bach’s music. “No other epoch and culture possesses it”, Weber asserts. Counterpoint’s rationality is meant to manifest itself in rules; yet Weber’s approach lacks an analysis of such rules. Remarkably, (...)
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  19. Andreas Dorschel (2010). Totengespräch zwischen Franz Joseph Haydn aus Rohrau und Anton Friedrich Wilhelm von Webern aus Wien in der musikalischen Unterwelt. In Andreas Dorschel & Federico Celestini (eds.), Arbeit am Kanon: Ästhetische Studien zur Musik von Haydn bis Webern. Universal Edition 9-15.
    In the spirit of Fontenelle's "Dialogues des morts", Dorschel stages an imaginary conversation between 18th century composer Joseph Haydn and 20th century composer Anton von Webern. In the section of Hades reserved for composers, they confront their different musical poetics.
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  20. Andreas Dorschel (2008). ‘Philosopher is a rotten word’. Von Nietzsches zu Delius’ Zarathustra. In Ulrich Tadday (ed.), Frederick Delius. Edition Text + Kritik 99-116.
    Delius’ Messe des Lebens (1907) transforms Nietzsche’s Also sprach Zarathustra (1883-5) into a Mass, religious services for worshippers of ‚Life‘. An individual reader’s train of thought is thus replaced by a collective experience at grand scale. To achieve that, Delius abandons cognitive, in particular philosophical, as well as satirical and parodistic features of Nietzsche’s Zarathustra. Yet unlike the Christian Mass, Eine Messe des Lebens gathers its congregation less by reference to belief, but rather by virtue of a sequence of musically (...)
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  21. Andreas Dorschel (2007). Arbeit am Kanon: Zu Hugo Wolfs Musikkritiken. Musicologica Austriaca 26:43-52.
    Cultivation of the musical canon and canonisation of truly original work can be identified as guiding principles of both Hugo Wolf’s artistic and his critical practice. The latter is shaped by classicist tropes; they may serve strategic functions as well, yet cannot be reduced to them. While he rejects the merely old-fashioned, Wolf also leads a striking attack on what he terms “modern music”. His endorsed aesthetics intertwine the old and the new.
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  22. Andreas Dorschel (ed.) (2007). Verwandlungsmusik. Über komponierte Transfigurationen. Universal Edition.
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  23. Andreas Dorschel (2006). Vom Beginnen. Bruckner und die Wechselfälle des Ursprungs im 19. Jahrhundert. In Hans-Joachim Hinrichsen & Laurenz Lütteken (eds.), Bruckner – Brahms: Urbanes Milieu als kompositorische Lebenswelt im Wien der Gründerzeit. Bärenreiter 128-143.
    ‚Origin‘ must be counted among the 19th century’s obsessions. Following the lead of 18th century Enlightenment, subverting origins rather than venerating them became a theoretical preoccupation. Yet art – specifically the art of music – dealt with origins in a different way. That way eludes the obvious alternative of either awe or unmasking. It is specifically modern: The work of art attends to its own genesis. The different versions of the beginning of Bruckner’s Fourth Symphony disclose a subtle craft of (...)
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  24. Andreas Dorschel (2005). Tonspuren. Musik im Film: Fallstudien 1994 - 2001. Universal Edition.
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  25. Andreas Dorschel (2004). Was ist musikalische Wertungsforschung? Jahrbuch des Staatlichen Instituts Für Musikforschung Preußischer Kulturbesitz:371-385.
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  26. Andreas Dorschel (ed.) (2004). Gemurmel unterhalb des Rauschens. Theodor W. Adorno und Richard Strauss. Universal Edition.
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  27. Andreas Dorschel (2004). Vom Genießen. Reflexionen zu Richard Strauss. In Gemurmel unterhalb des Rauschens. Theodor W. Adorno und Richard Strauss. Universal Edition 23-37.
    The work of Richard Strauss has been disparaged as a music designed to be relished (“Genußmusik” was Adorno’s term), lacking any dimension of ‘transcendence’. The notion of ‘relish’ or ‘pleasure’ (“Genuß”), used for characterization rather than disparagement, can disclose crucial aspects of Strauss’s art, though it does not exhaust it. To oppose ‘relish’ or ‘pleasure’ (“Genuß”) to ‘transcendence’, however, either uses hidden theological premises or disregards that ‘relish’ or ‘pleasure’ (“Genuß”), bound to be pervious to its object, does transcend towards (...)
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  28. Andreas Dorschel (2003). Rettende Interpretation. In Otto Kolleritsch (ed.), Musikalische Produktion und Interpretation. Zur historischen Unaufhebbarkeit einer ästhetischen Konstellation. Universal Edition 199-211.
    Aestheticians in the tradition of Critical Theory have claimed that the or a purpose of musical interpretation is somehow to save or salvage or rescue ("retten") the musical work. What sense, if any, can be made of this claim? The notion of salvage or rescue presupposes the concept of danger. Threats to works of art emerge from two sources: from outside and from inside. Whilst the former problem is only touched upon, the latter is discussed in some detail, using the (...)
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  29. Andreas Dorschel (2003). Das ‘Urteil der Geschichte’. Über ‘historische Gerechtigkeit’ in der Wertung musikalischer Werke. Österreichische Musikzeitschrift 58 (2):6-17.
  30. Andreas Dorschel (1997). Utopie und Resignation. Schuberts Deutungen des Sehnsuchtsliedes aus Goethes ‘Wilhelm Meister’ von 1826. Oxford German Studies 26:132-164.
    In the lied, music interprets poetry. Interpretation is not arbitrary. At the same time, there is no such thing as a single correct interpretation of something else – at any rate not of something as complex as a poem by Goethe. Mignon’s song of longing “Nur wer die Sehnsucht kennt, / weiß, was ich leide” can be taken to manifest subjectivity utterly barren within itself. Yet the ability to express that state of mind transcends it; it implies imagination of something (...)
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  31. Andreas Dorschel (1991). Stilisierte Simplizität. Heines ‘Ich stand in dunkeln Träumen’ in Schuberts Komposition. Heine-Jahrbuch 30:164-186.
    Simplicity can be a complicated matter. This has been notorious in the philosophy of science for some time; but it seems the aesthetics of music yet have to come up to that insight. Song, apparently the plainest of musical genres, turns out to be a rather intricate sort of thing once we try to unravel its puzzle of expression as confluence of words and music. Specifically, Franz Schubert’s Ihr Bild, after Heinrich Heine, achieves simplicity through condensation. The idea of gestural (...)
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  32. Andreas Dorschel (1987). Die Idee der ‘Einswerdung’ in Wagners Tristan. In Heinz-Klaus Metzger & Rainer Riehn (eds.), Richard Wagner, Tristan und Isolde. Edition Text + Kritik 19-25.
  33. Andreas Dorschel & Federico Celestini (2010). Arbeit am Kanon: Ästhetische Studien zur Musik von Haydn bis Webern. Universal Edition.
    In 'Arbeit am Kanon', Italian musicologist Federico Celestini and German philosopher Andreas Dorschel discuss aesthetic issues in the work of composers Joseph Haydn, Franz Schubert, Johannes Brahms, Anton Bruckner, Hugo Wolf, Gustav Mahler, Anton Webern, and Franz Schreker.
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  34. A. Edgar (2012). Who Needs Classical Music? Cultural Choice and Musical Value. British Journal of Aesthetics 52 (2):209-211.
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  35. Joshua Fineberg (2006). Classical Music Why Bother?: Hearing the World of Contemporary Culture Through a Composer's Ears. Routledge.
    The famous quip "I don't know much about art, but I know what I like" sums up many people's ideas about how to judge a work of art; but there are inherent limitations if we rely on immediate impressions in judging what should be enduring products of our culture. While some might criticize this as a return to "elitism," Joshua Fineberg argues that without some way of determining intrinsic value, there can be no movement forward for creators or their audience. (...)
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  36. Andy Hamilton & Roger Scruton (1999). The Aesthetics of Western Art Music. Philosophical Books 40 (3):145-159.
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  37. Julian Johnson (2002). Who Needs Classical Music?: Cultural Choice and Musical Value. Oxford University Press.
    During the last few decades, most cultural critics have come to agree that the division between "high" and "low" art is an artificial one, that Beethoven's Ninth and "Blue Suede Shoes" are equally valuable as cultural texts. In Who Needs Classical Music?, Julian Johnson challenges these assumptions about the relativism of cultural judgements. The author maintains that music is more than just "a matter of taste": while some music provides entertainment, or serves as background noise, other music claims to function (...)
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  38. Estelle Ruth Jorgensen (2003). Western Classical Music and General Education. Philosophy of Music Education Review 11 (2):130-140.
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  39. Jennifer Judkins (2008). Why Classical Music Still Mattersby Kramer, Lawrence. Journal of Aesthetics and Art Criticism 66 (4):418-419.
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  40. Andrew Kania (2010). Silent Music. Journal of Aesthetics and Art Criticism 68 (4):343-353.
    In this essay, I investigate musical silence. I first discuss how to integrate the concept of silence into a general theory or definition of music. I then consider the possibility of an entirely silent musical piece. I begin with John Cage’s 4′33″, since it is the most notorious candidate for a silent piece of music, even though it is not, in fact, silent. I conclude that it is not music either, but I argue that it is a piece of non-musical (...)
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  41. Andrew Kania (2009). Musical Recordings. Philosophy Compass 4 (1):22-38.
    In this article, I first consider the metaphysics of musical recordings: their variety, repeatability, and transparency. I then turn to evaluative or aesthetic issues, such as the relative virtues of recordings and live performances, in light of the metaphysical discussion.
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  42. Peter Kivy (2009). Fictional Form and Symphonic Structure: An Essay in Comparative Aesthetics. Ratio 22 (4):421-438.
    It is agreed on all hands that both fictional narratives and the familiar genres of classical music possess an inner structure that both can be perceived and be appreciated aesthetically. It is my argument here that this inner structure plays a crucially different role in fictional narrative than it does in classical music, confining myself here to 'absolute music' (which is to say, pure instrumental music without text, programme, dramatic setting, or other 'extra-musical' content). The argument, basically, is that whereas (...)
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  43. Michael Leslie Klein (2005). Intertextuality in Western Art Music. Indiana University Press.
    Eco, Chopin, and the limits of intertextuality -- The appeal to structure -- On codes, topics, and leaps of interpretation -- Bloom, Freud, and Riffaterre : influence and intertext as signs of the uncanny -- Narrative and intertext : the logic of suffering in Lutosawski's Symphony no. 4.
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  44. António Lopes, Deve a Interpretação Musical Ser Eticamente Condicionada?
    The paper addresses the issue of ethical obligations in the performance of musical works in the Western classical tradition, arguing that there are indeed such obligations, although they are not categorical. -/- PT: Na tradição clássica ocidental, as obras de arte musicais, teatrais e, até certo ponto, as coreografias, são criadas por artistas-autores, mas necessitam de ser executadas por intérpretes (instrumentistas, cantores e maestros, actores e encenadores, bailarinos, etc.). Estes são assim chamados porque existe sempre uma dose de descricionariedade, não (...)
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  45. António Lopes (2006). Relativismo na Avaliação de Execuções Musicais. Philosophica 27:121-134.
    This is the first of a series of papers in which I present a defense of moderate objectivism about the evaluation of performances of musical works in the Western classical tradition.
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  46. António Lopes (2005). Musical Works and Performance Evaluation. Postgraduate Journal of Aesthetics 2 (2):76-86.
    This paper addresses the following problem: to what extent do ontological considerations about musical works affect our evaluation of performances of those works? I argue for the claim that at least some important grounds on which performances are evaluated are specific to them, in that these grounds are either independent from, or related but not fully determined by, the properties of the works they are of. In the first part of the paper, I explore the relations between good-making features of (...)
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  47. Thomas J. Mulherin (2015). "Where Nature Will Speak to Them in Sacred Sounds" : Music and Transcendence in E.T.A. Hoffmann. In Férdia Stone-Davis (ed.), Music and Transcendence. Ashgate 159-176.
  48. Jonathan A. Neufeld (2012). Critical Performances. Teorema: International Journal of Philosophy (3):89-104.
    Philosophers of music commonly distinguish performative from critical interpretations. I would like to suggest that the distinction between critical and performative interpretations is well captured by an analogy to legal critics and judges. This parallel draws attention to several features of performative interpretation that are typically overlooked, and deemphasizes epistemic problems with performative interpretations that I believe are typically blown out of proportion and ultimately fail to capture interesting features of performative interpretation. There is an important distinction to be made (...)
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  49. Jonathan A. Neufeld (2011). Living the Work: Meditations on a Lark. Journal of Aesthetic Education 45 (1):89-106.
    Imagine that a performer is confronted with the following decision. After working on a piece for several weeks—practicing, analyzing, listening to various recordings, perhaps reading a bit about it—a performer comes to a crossroads. It seems to him that changing a few crucial interrelated passages can generate two very different performative interpretations. One makes the piece sound animated, lively, and interesting; the other makes the piece sound repetitive, flat, and perhaps even boring. While the performer can understand why one would (...)
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  50. Alexander Rehding (2009). Music and Monumentality: Commemoration and Wonderment in Nineteenth Century Germany. OUP Usa.
    This critical study locates musical monumentality, a central property of the nineteenth-century German repertoire, at the intersections of aesthetics and memory. In examples including Beethoven, Liszt, Wagner and Bruckner, Rehding explores how monumentality contributes to an experiential music history and how it conveys the sublime to the listening public.
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