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  1. Bertinetto Alessandro (2012). Paganini Does Not Repeat. Musical Improvisation and the Type/Token Ontology. Teorema: International Journal of Philosophy (3):105-126.
    This paper explores the ontology of musical improvisation (MI). MI, as process in which creative and performing activities are one and the same generative occurrence, is contrasted with the most widespread conceptual resource used in inquiries about music ontology of the Western tradition: the type/token duality (TtD). TtD, which is used for explaining the relationship between musical works (MWs) and performances, does not fit for MI. Nonetheless MI can be ontologically related to MWs. A MW can ensue from MI and (...)
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  2. Nicolás Alessandroni & Esteban Etcheverry (2011). Dirección Coral y Técnica Vocal, ¿Un diálogo posible? Reflexiones metodológicas para un trabajo vocal eficiente. European Review of Artistic Studies 3 (2):1-11.
    Hace 60 años el funcionamiento de la voz en tanto instrumento regido por las leyes acústicas e inscripto en el cuerpo humano, y por lo tanto, gobernado por los mecanismos fisiológicos, era un misterio. Hoy en día, gracias a los avances de la ciencia, es posible (y resulta inevitable) presentar la voz desde una perspectiva sólidamente fundamentada. La práctica coral es práctica vocal, y por lo tanto, para el director coral resulta fundamental estar familiarizado con los nuevos conocimientos disponibles en (...)
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  3. John Lowell Brackett (2012). Zorn: Avant/Après/Passé. Avant: Trends in Interdisciplinary Studies 3 (T):316-323.
    Witold Wachowski’s brief exchange with John Zorn provides us with many valuable insights relating to the composer’s aesthetic. Zorn’s professed antipathy towards audiences, his faith in the creative instinct of the “artist,” and his belief in the transcendental nature of musical works (as a gateway into a world of “truth” and “beauty”) are all refrains commonly encountered in many interviews with the composer. Given the fact that Zorn emphasizes these themes in his very short interview with Wachowski, we can assume (...)
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  4. Carmen Cozma (2005). A Pathway Towards Music Art: The Meloethics. - Some Connections with the Phenomenology of Life -. Cultura 2 (2):85-90.
    Listening Music Listening to an art of music’s work! Something important happens to us. Why? Because our soul is touched and moved at its deepest levels. In contact with music, a spiritual tumult invades our entire being; and we are revealed to ourselves in a new and previously unknown way. Face to face with the harmonious sounds – giving music the status of an artistic “text” – we find opportunities – maybe the best possible – to unfold our unique capacity (...)
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  5. Adam M. Croom (2015). Music Practice and Participation for Psychological Well-Being: A Review of How Music Influences Positive Emotion, Engagement, Relationships, Meaning, and Accomplishment. Musicae Scientiae: The Journal of the European Society for the Cognitive Sciences of Music 19:44-64.
    In “Flourish,” Martin Seligman maintained that the elements of well-being consist of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes human flourishing or psychological well-being has remained a topic of continued debate among scholars, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would largely manifest most or all of the aforementioned PERMA factors. Further, in “A Neuroscientific Perspective on Music Therapy,” Stefan Koelsch also suggested (...)
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  6. Adam M. Croom (2012). Music, Neuroscience, and the Psychology of Wellbeing: A Précis. Frontiers in Theoretical and Philosophical Psychology 2 (393):393.
    In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted (...)
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  7. 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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  8. Andreas Dorschel (2006). Über Kanonisierung. Musiktheorie 21 (1):6-12.
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  9. Andreas Dorschel (2006). ‘Best to Have the Opera House Bombarded’. An Unpublished Letter by Hugo Wolf. Studia Musicologica 47 (2):233-240.
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  10. Andreas Dorschel (2003). Das ‘Urteil der Geschichte’. Über ‘historische Gerechtigkeit’ in der Wertung musikalischer Werke. Österreichische Musikzeitschrift 58 (2):6-17.
  11. W. Tecumseh Fitch (2006). The Biology and Evolution of Music: A Comparative Perspective. Cognition 100 (1):173-215.
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  12. R. Frances (1951). La Constitution de l'Œuvre Musicale. Les Etudes Philosophiques 6 (4):343 - 353.
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  13. Anton Froeyman (2011). Historische Uitvoeringspraktijk. de Uil Van Minerva 24 (1):21-38.
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  14. John Gaffney (2012). The Political Art of Bob Dylan. Contemporary Political Theory 11 (1):e7 - e10.
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  15. Andrew Geeves, Doris Mcllwain, John Sutton & Wayne Christensen (2010). Expanding Expertise: Investigating a Musician’s Experience of Music Performance. ASCS09: Proceedings of the 9th Conference of the Australasian Society for Cognitive Science:106-113.
    Seeking to expand on previous theories, this paper explores the AIR (Applying Intelligence to the Reflexes) approach to expert performance previously outlined by Geeves, Christensen, Sutton and McIlwain (2008). Data gathered from a semi-structured interview investigating the performance experience of Jeremy Kelshaw (JK), a professional musician, is explored. Although JK’s experience of music performance contains inherently uncertain elements, his phenomenological description of an ideal performance is tied to notions of vibe, connection and environment. The dynamic nature of music performance advocated (...)
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  16. Carrie Giunta, Ten Hip-Hop Tracks That Demand Freedom for Palestine. The Electronic Intifada.
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  17. Ted Gordon (2012). John Zorn: Autonomy and the Avant-Garde. Avant: Trends in Interdisciplinary Studies 3 (T):329-343.
    This essay is an excerpt for a larger paper exploring the concept of autonomy as it emerges in the life and work of the composer, performer, record label executive and club-owner John Zorn. Zorn’s activities over his wide-ranging career span from performing at jazz lofts in the 1970s to winning the MacArthur “genius” grant in 2008, while maintaining his status as a prolific composer and producer of avant-garde music. In interviews, documentaries, and in his music, Zorn often comments on his (...)
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  18. Eran Guter (2015). The Good, the Bad, and the Vacuous: Wittgenstein on Modern and Future Musics. Journal of Aesthetics and Art Criticism 73 (4):425-439.
    This article explains Wittgenstein's distinction between good, bad, and vacuous modern music which he introduced in a diary entry from January 27, 1931. I situate Wittgenstein's discussion in the context of Oswald Spengler's ideas concerning the decline of Western culture, which informed Wittgenstein's philosophical progress during his middle period, and I argue that the music theory of Heinrich Schenker, and Wittgenstein's critique thereof, served as an immediate link between Spengler's cultural pessimism and Wittgenstein's threefold distinction. I conclude that Wittgenstein's distinction (...)
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  19. Eran Guter (2013). Wittgenstein on Mahler. In Danièle Moyal-Sharrock, Volker A. Munz & Annalisa Coliva (eds.), Mind, Language and Action: Contributions to the 36th International Wittgenstein Symposium. Austrian Ludwig Wittgenstein Society
    In this paper I explain Wittgenstein’s ambivalent remarks on the music of Gustav Mahler in their proper musico-philosophical context. I argue that these remarks are connected to Wittgenstein’s hybrid conception of musical decline and to his tripartite scheme of modern music. I also argue that Mahler’s conundrum was indicative of Wittgenstein’s grappling with his own predicament as a philosopher, and that this gives concrete sense to Wittgenstein’s admission that music was so important to him that without it he was sure (...)
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  20. Cristian Hainic (2011). The Nuts and Bolts of Arts Management: A Discussion on a Recent Handbook in the Field. [REVIEW] Journal for Communication and Culture 1 (2):167-170.
    Brindle, Meg and Constance DeVereaux, eds. The Arts Management Handbook: New Directions for Students and Practitioners. Armonk, New York: M.E. Sharpe, 2011.
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  21. Ray Jackendoff & Fred Lerdahl (2006). The Capacity for Music: What is It, and What’s Special About It? Cognition 100 (1):33-72.
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  22. Robin James (2014). Neoliberal Noise: Attali, Foucault, & the Biopolitics of Uncool. Culture, Theory, and Critique 52 (2):138-158.
    Is it even possible to resist or oppose neoliberalism? I consider two responses that translate musical practices into counter-hegemonic political strategies: Jacques Attali’s theory of “composition” and the biopolitics of “uncool.” Reading Jacques Attali’s Noise through Foucault’s late work, I argue that Attali’s concept of “repetition” is best understood as a theory of neoliberal biopolitics, and his theory composition is actually a model of deregulated subjectivity. Composition is thus not an alternative to neoliberalism but its quintessence. An aesthetics and ethos (...)
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  23. Robin James (2013). From "No Future" to "Delete Yourself ". Journal of Popular Music Studies 25 (4).
    Beginning with the role of the Sex Pistols’s “God Save the Queen” in Lee Edelman and J. Jack Halberstam’s debates about queer death and failure, I follow a musical motive from the Pistols track to its reappearance in Atari Teenage Riot’s 1995 “Delete Yourself .” In this song, as in much of ATR’s work from the 1990s, overlapping queer and Afro-diasporic aesthetics condense around the idea of death or “bare life.” ATR’s musical strategies treat this death as a form of (...)
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  24. Ralph Jarzombek, Proportional Relationship in the Segmentation Masses of Obrecht and its Influence on Form and Structure.
    Proportional relationships of simple numbers were commonly used in architecture during the Renaissance period. These proportional relationships were based on the primary musical consonances of the Greek musical system: the octave (2:1), fifth (3:2), and fourth (4:3). In a similar manner, Obrecht uses the proportional relationships created by periods of rest and the last notes of the cantus firmus segments. These proportional relationships are found in the same voice as the cantus firmus, and appear when the statements of the cantus (...)
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  25. Steve Jones (2009). James Brown, Sample Culture, and the Permanent Distance of Glory. Fibreculture 15.
    James Brown’s ‘I’m Real’ (1988) contains numerous lyrics regaled from James Brown’s earlier hits (including ‘Make it Funky’ (1971)) and also James Brown vocal samples from ‘Get Up (I Feel Like Being a) Sex Machine’ (1970) and ‘Get on the Good Foot’ (1972). But why sample James Brown’s voice when the man himself was in the studio recording a vocal? What purpose could it serve, especially when he was already replicating moments from previous hits? This article investigates that chronologic duality. (...)
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  26. Brian D. Josephson & Tethys Carpenter (1996). What Can Music Tell Us About the Nature of the Mind? A Platonic Model. In Stuart R. Hameroff, Alfred W. Kaszniak & Alwyn C. Scott (eds.), Toward a Science of Consciousness. MIT Press
    We present an account of the phenomenon of music based upon the hypothesis that there is a close parallel between the mechanics of life and the mechanics of mind, a key factor in the correspondence proposed being the existence of close parallels between the concepts of gene and musical idea. The hypothesis accounts for the specificity, complexity, functionality and apparent arbitrariness of musical structures. An implication of the model is that music should be seen as a phenomenon of transcendental character, (...)
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  27. Christian Jung (2012). Wagner und Hanslick. Kurze Geschichte einer Feindschaft. Österreichische Musikzeitschrift 67 (6):14-21.
    The controversy between Richard Wagner and his critic Eduard Hanslick is well known, but rarely looked at in detail. It is mostly believed that Hanslick was unable to see Wagner's genius, stuck deeply in an antiquated aesthetical world. By reassessing Wagner's and Hanslick's letters and publications it can be seen, however, that Hanslick's detailed criticism (and also appreciation) was much more objective and less spiteful than is often assumed.
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  28. Gerald Keaney (2011). DVD Review of "Memory:Video Poetry" by Synaptic Graffiti Collective. [REVIEW] Overland 202:Free online.
    In this review I compare the short video poetry on the DVD to music video clips such as are used to promote rock music.
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  29. Paul Sung Il Kim (1989). Olivier Messiaen's "Catalogue d'Oiseaux" for Solo Piano: A Phenomenological Analysis and Performance Guide. Dissertation, New York University
    This study analyzes Messiaen's Catalogue d'Oiseaux for solo piano in order to formulate a performance guide. The unusual subject matter of birdsong within these pieces translates to innovative compositional techniques, demanding significant reorientation of the performer's approach to this music. ;After the general introduction of the first chapter, Chapter II presents an overview of Messiaen's life and music. The sections are divided into: a brief biography, representative works, music for solo piano, and birdsong compositions. The last two aspects are observed (...)
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  30. Aloysius Knoll (1959). Some Capuchin Views of, and Contributions to Sacred Music. Franciscan Studies 19 (3-4):325-333.
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  31. C. Krumhansl (2000). Cross-Cultural Music Cognition: Cognitive Methodology Applied to North Sami Yoiks. Cognition 76 (1):13-58.
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  32. J. Mcdermott & M. Hauser (2007). Nonhuman Primates Prefer Slow Tempos but Dislike Music Overall☆. Cognition 104 (3):654-668.
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  33. J. Mcdermott & M. Hauser (2004). Are Consonant Intervals Music to Their Ears? Spontaneous Acoustic Preferences in a Nonhuman Primate. Cognition 94 (2):B11-B21.
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  34. Damiano Menin & Andrea Schiavio (2012). Rethinking Musical Affordances. Avant: Trends in Interdisciplinary Studies 3 (2):202-215.
    The notion of affordance has been introduced by Gibson (1977, 1979) as the feature of an object or the environment that allows the observer to perform an action, a set of “environmental supports for an organism’s intentional activities” (Reybrouck 2005). Studied under very different perspectives, this concept has become a crucial issue not only for the ecological psychology, but also for cognitive sciences, artificial intelligence studies, and philosophy of mind. This variety of approaches has widened the already ambiguous definition originally (...)
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  35. Enrique Morata (ed.) (2015). Tecnicas para escribir canciones. Bubok.
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  36. Enrique Morata (2013). Theory of Rock Music. Bubok.
    Theory of rock music with texts from St. Augustine, Cicero, Arnold Schonberg, Hugo Riemann, Robert Schumann.
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  37. Enrique Morata (2010). Ritchie Blackmore and the Barbarian Music. Bubok.
    Theory of rock music. Sheet music from R. B.
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  38. Vincent C. Müller & Aladdin Ayesh (eds.) (2012). Revisiting Turing and His Test: Comprehensiveness, Qualia, and the Real World. AISB.
    Proceedings of the papers presented at the Symposium on "Revisiting Turing and his Test: Comprehensiveness, Qualia, and the Real World" at the 2012 AISB and IACAP Symposium that was held in the Turing year 2012, 2–6 July at the University of Birmingham, UK. Ten papers. - http://www.pt-ai.org/turing-test --- Daniel Devatman Hromada: From Taxonomy of Turing Test-Consistent Scenarios Towards Attribution of Legal Status to Meta-modular Artificial Autonomous Agents - Michael Zillich: My Robot is Smarter than Your Robot: On the Need for (...)
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  39. Isabelle Peretz (2006). The Nature of Music From a Biological Perspective. Cognition 100 (1):1-32.
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  40. Jay Rahn (1983). A Theory for All Music : Problems and Solutions in the Analysis of Non-Western Forms. University of Toronto Press.
    Professor Rahn takes the approach to the analysis of Western art music developed recently by theorists such as Benjamin Boretz and extends it to address non-Western forms. In the process, he rejects recent ethnomusicological formulations based on mentalism, cultural determinism, and the psychology of perception as potentially fruitful bases for analysing music in general. Instead he stresses the desirability of formulating a theory to deal with all music, rather than merely Western forms, and emphasizes the need to evaluate an analysis (...)
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  41. Jay Rahn, Marchetto of Padua's Theory of Modal Ranges.
    Marchetto of Padua, Lucidarium, authentic, plagal, perfect, imperfect, pluperfect, mixed, odd numbers, even numbers, Aristotle, Metaphysics, Alcmaeon of Croton, causa significationis, dyapente, diatesseron, concord, senaria, Pomerium, Donatus, Vetulus, mode 5, commixed, corda, discant, dyad, voice leading.
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  42. Gerald Seaman (2015). Desire and Pleasure in Seventeenth-Century Music. The European Legacy 20 (8):863-864.
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  43. E. R. Skurko (2013). Rakhmaninov's creative work influence on national music cultures in 20th century. Liberal Arts in Russia 2 (2):149--158.
    The article dwells on the problem of Rakhmaninov’s art, style and poetics influence on the process of formation and development of national music cultures, national composer schools and some individual author’s styles of the former USSR. Three evolution stages of all national music cultures are determined: “preprofessional”, “professional” and the stage of “new music”. Two work concepts are introduced: a Rakhmaninov’s musical and style canon as an individual system including characteristic properties of the composer’s style and poetics, and a national (...)
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  44. Robert Stock & Beate Ochsner (2014). Das hören des Cochlea Implantats. Paragrana: Internationale Zeitschrift für Historische Anthropologie 22 (3):408-424.
    The contribution analyses (self-)descriptions of hearing experiences articulated by cochlear implant (CI) users through internet blogs. These auto-medial testimonies (Dünne/Moser) are understood as elements of an individuation process that reciprocally produces the CI-user as well as the CI itself. The analysis therefore focuses on those acoustic effects that are established by the CI, its first activation and the further mapping or adaptation processes as well as early CI-hearing experiences and subsequent listening exercises. It can thus be shown how the cultural (...)
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  45. Louis Torres & Michelle Marder Kamhi (2000). What Art Is: The Esthetic Theory of Ayn Rand. Open Court.
    What is art? The arts establishment has a simple answer: anything is art if a reputed artist or expert says it is. Though many people are skeptical about the alleged new art forms that have proliferated since the early twentieth century, today's critics claim that all such work, however incomprehensible, is art. -/- A groundbreaking alternative to this view is provided by philosopher-novelist Ayn Rand (1905-1982). Best known as the author of The Fountainhead and Atlas Shrugged, Rand also created an (...)
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  46. Wolfgang Wildgen (2015). 2. Wildgen, Wolfgang, 2015a. Dynamique narrative du texte, du film et de la musique. , In: Cahiers de Narratologie. Analyses Et Théories Narratives, 28 (Numéro: Le Récit Comme Acte Cognitif). Link : Http://Narratologie.Revues.Org/7243 28.
    Narrativity is basically linked to the dynamics of the events and actions which are told and it depends on the pragmatic context, mainly on the narrator and his audience, i.e. on the discursive setting. These dynamics ask for an adequate theoretical frame, e.g. in the format of dynamical system theory or vector analysis. Furthermore, narrativity can be manifested in different modalities. We shall present some specimens of analysis in the linguistic modality (spontaneous oral tales, folktales), in the visual modality (painting (...)
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