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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. Anton Froeyman (2011). Historische Uitvoeringspraktijk. de Uil Van Minerva 24 (1):21-38.
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  12. John Gaffney (2012). The Political Art of Bob Dylan. Contemporary Political Theory 11 (1):e7 - e10.
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  13. 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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  14. Carrie Giunta, Ten Hip-Hop Tracks That Demand Freedom for Palestine. The Electronic Intifada.
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  15. 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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  16. 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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  17. 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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  18. 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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  19. 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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  20. 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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  21. 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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  22. Aloysius Knoll (1959). Some Capuchin Views of, and Contributions to Sacred Music. Franciscan Studies 19 (3-4):325-333.
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  23. 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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  24. Enrique Morata (ed.) (2015). Tecnicas para escribir canciones. Bubok.
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  25. 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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  26. Enrique Morata (2010). Ritchie Blackmore and the Barbarian Music. Bubok.
    Theory of rock music. Sheet music from R. B.
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  27. 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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  28. 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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  29. 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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