This category needs an editor. We encourage you to help if you are qualified.
Volunteer, or read more about what this involves.
Related categories
Siblings:
94 found
Search inside:
(import / add options)   Sort by:
1 — 50 / 94
  1. Bruce Adolphe (1999). Of Mozart, Parrots and Cherry Blossoms in the Wind: A Composer Explores Mysteries of the Musical Mind. Limelight Editions.
    The exhilarating mix of humor, philosophy, fact and whimsy that marks these essays derives from more than 200 lectures Bruce Adolphe has given over most of the ...
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  2. Patricia V. Agostino, Guy Peryer & Warren H. Meck (2008). How Music Fills Our Emotions and Helps Us Keep Time. Behavioral and Brain Sciences 31 (5):575-576.
    Whether and how music is involved in evoking emotions is a matter of considerable debate. In the target article, Juslin & Vll (J&V) argue that music induces a wide range of both basic and complex emotions that are shared with other stimuli. If such a link exists, it would provide a common basis for considering the interactions among music, emotion, timing, and time perception.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  3. Lars-Olof Åhlberg (1994). Susanne Langer on Representation and Emotion in Music. British Journal of Aesthetics 34 (1):69-80.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  4. Rita Aiello & John A. Sloboda (eds.) (1994). Musical Perceptions. Oxford University Press.
    Musical Perceptions is a much-needed text that introduces students of both music and psychology to the study of music perception and cognition. Because the book aims to foster a closer interaction between research in the science and the art of music, both psychologists and musicians contribute chapters on a wide range of topics, including the philosophy of music; research in musical performance; perception of melody, tonality, and rhythm; pedagogical issues; language and music; and neural networks. With their unique ability to (...)
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  5. Gerhard Albersheim (1960). The Sense of Space in Tonal and Atonal Music. Journal of Aesthetics and Art Criticism 19 (1):17-30.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  6. R. T. Allen (1990). The Arousal and Expression of Emotion by Music. British Journal of Aesthetics 30 (1):57-61.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  7. Leo Apostel, Herman Sabbe & Fernand J. Vandamme (eds.) (1986). Reason, Emotion, and Music: Towards a Common Structure for Arts, Sciences, and Philosophies, Based on a Conceptual Framework for the Description of Music. Communication & Cognition.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  8. Claire Armon-Jones (1991). Varieties of Affect. University of Toronto Press.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  9. Philip Ball (2010). The Music Instinct: How Music Works and Why We Can't Do Without It. Oxford University Press.
    Now in The Music Instinct , award-winning writer Philip Ball provides the first comprehensive, accessible survey of what is known--and still unknown--about how ...
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  10. Albert Balz (1914). Music and Emotion. Journal of Philosophy, Psychology and Scientific Methods 11 (9):236-244.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  11. Christopher Bartel (2010). Why Music Moves Us - Jeanette Bicknell. [REVIEW] Journal of Aesthetics and Art Criticism 68 (3):317-319.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  12. Alexander Becker & Matthias Vogel (eds.) (2007). Musikalischer Sinn: Beiträge Zu Einer Philosophie der Musik. Suhrkamp.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  13. Harris M. Berger (2009). Stance: Ideas About Emotion, Style, and Meaning for the Study of Expressive Culture. Wesleyan University Press.
    Locating stance -- Structures of stance in lived experience -- Stance and others, stance and lives -- The social life of stance and the politics of expressive culture.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  14. Karol Berger, Anthony Newcomb & Reinhold Brinkmann (eds.) (2005). Music and the Aesthetics of Modernity: Essays. Distributed by Harvard University Press.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  15. Laurence D. Berman (1993). The Musical Image: A Theory of Content. Greenwood Press.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  16. Jeanette Bicknell (2007). Explaining Strong Emotional Responses to Music:. Journal of Consciousness Studies 14 (12):5-23.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  17. Daniela Lenti Boero & Luciana Bottoni (2008). Why We Experience Musical Emotions: Intrinsic Musicality in an Evolutionary Perspective. Behavioral and Brain Sciences 31 (5):585-586.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  18. Paul Boghossian (2007). Explaining Musical Experience. In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.
    1. I start with the observation that we often respond to a musical performance with emotion -- even if it is just the performance of a piece of absolute music, unaccompanied by text, title or programme. We can be exhilarated after a Rossini overture brought off with subtlety and panache; somber and melancholy after Furtlanger’s performance of the slow movement of the Eroica. And so forth. These emotions feel like the real thing to me – or anyway very close to (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  19. Malcolm Budd (2005). Aesthetic Realism and Emotional Qualities of Music. British Journal of Aesthetics 45 (2):111-122.
    Roger Scruton appears to have been the first to argue for and articulate an anti-realist theory of aesthetic properties. In the case of emotional qualities of music, his principal argument against realism is unsound and cannot, I believe, be repaired. Nevertheless an anti-realist view of emotional qualities of music is in my view correct and I defend Scruton's insight against a rival realist conception. However, I prefer a rather different form of anti-realism to Scruton's.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  20. Malcolm Budd (1989). Music and the Communication of Emotion. Journal of Aesthetics and Art Criticism 47 (2):129-138.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  21. Malcolm Budd (1987). Motion and Emotion in Music: A Reply. British Journal of Aesthetics 27 (1):51-54.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  22. Malcolm Budd (1985). Music and the Emotions: The Philosophical Theories. Routledge & Kegan Paul.
    The most fundamental debate in the philosophy of music involves the question of whether there is an artistically important connection between music and the ...
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  23. Malcolm Budd (1983). Motion and Emotion in Music: How Music Sounds. British Journal of Aesthetics 23 (3):209-221.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  24. Malcolm Budd (1980). The Repudiation of Emotion: Hanslick on Music. British Journal of Aesthetics 20 (1):29-43.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  25. David Carr (2004). Music, Meaning, and Emotion. Journal of Aesthetics and Art Criticism 62 (3):225–234.
    Remove from this list | Direct download (8 more)  
     
    My bibliography  
     
    Export citation  
  26. Tom Cochrane (2009). Joint Attention to Music. British Journal of Aesthetics 49 (1):59-73.
    This paper contrasts individual and collective listening to music, with particular regard to the expressive qualities of music. In the first half of the paper a general model of joint attention is introduced. According to this model, perceiving together modifies the intrinsic structure of the perceptual task, and encourages a convergence of responses to a greater or lesser degree. The model is then applied to music, looking first at the silent listening situation typical to the classical concert hall, and second (...)
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  27. Tom Cochrane (2010). Music, Emotions and the Influence of the Cognitive Sciences. Philosophy Compass 5 (11):978-988.
    This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases allow us (...)
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  28. Tom Cochrane (2010). Using the Persona to Express Complex Emotions in Music. Music Analysis 29 (1-3):264-275.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  29. Tom Cochrane (2010). A Simulation Theory of Musical Expressivity. Australasian Journal of Philosophy 88 (2):191-207.
    This paper examines the causal basis of our ability to attribute emotions to music, developing and synthesizing the existing arousal, resemblance and persona theories of musical expressivity to do so. The principal claim is that music hijacks the simulation mechanism of the brain, a mechanism which has evolved to detect one's own and other people's emotions.
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  30. Tom Cochrane (2008). Expression and Extended Cognition. Journal of Aesthetics and Art Criticism 66 (4):59-73.
    I argue for the possibility of an extremely intimate connection between the emotional content of the music and the emotional state of the person who produces that music. Under certain specified conditions, the music may not just influence, but also partially constitute the musician’s emotional state.
    Remove from this list | Direct download (8 more)  
     
    My bibliography  
     
    Export citation  
  31. David E. Cooper (2009). Music, Education, and the Emotions. Journal of Chinese Philosophy 36 (4):642-652.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  32. Adam M. Croom (2012). Aesthetic Concepts, Perceptual Learning, and Linguistic Enculturation: Considerations From Wittgenstein, Language, and Music. Integrative Psychological and Behavioral Science 46:90-117.
    Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively grasp abstract rules fixed independently of human (...)
    Remove from this list |
    Translate to English
    | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  33. S. Davies (2003). Philosophy, Music and Emotion. Australasian Journal of Philosophy 81 (2):281-283.
    Book Information Philosophy, Music and Emotion. By Geoffrey Madell. Edinburgh University Press. Edinburgh. 2002. Pp. vii + 162. £40.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  34. S. Davies (1980). The Expression of Emotion in Music. Mind 89 (353):67-86.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  35. Stephen Davies (2011). Infectious Music: Music-Listener Emotional Contagion. In Amy Coplan & Peter Goldie (eds.), Empathy: Philosophical and Psychological Perspectives. Oxford University Press.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  36. Stephen Davies (2011). Emotions Expressed and Aroused by Music: Philosophical Perspectives. In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. Oup Oxford.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  37. Stephen Davies (2006). Artistic Expression and the Hard Case of Pure Music. In Matthew Kieran (ed.), Contemporary debates in aesthetics and the philosophy of art. Blackwell Publishing.
    In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without words, (...)
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  38. Stephen Davies (1983). Is Music a Language of the Emotions? British Journal of Aesthetics 23 (3):222-233.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  39. M. de Bellis (2010). The Musical Representation: Meaning, Ontology, and Emotion, by Charles O. Nussbaum. Mind 119 (473):225-228.
    (No abstract is available for this citation).
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  40. A. E. Denham (2009). The Future of Tonality. British Journal of Aesthetics 49 (4):427-450.
    Is the tonal ordering of music, and the order of European triadic tonality in particular, the developed manifestation of an essential musical structure—a structure naturally suited to our human capacity to organize sounds musically? Historically and geographically, triadic tonality is a highly local phenomenon, limited to music beginning in the mid-seventeenth century and, until the nineteenth century, almost wholly confined to the Western European musical tradition. Some theorists accordingly regard tonality as a dispensable aesthetic convention—and one which, moreover, has had (...)
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  41. Andreas Dorschel (2015). Ästhetik des Fado. Merkur 69 (2):79-86.
    Fado, the urban folk of Lisbon and Coimbra, is an art of nuances. These nuances music takes from poetry; as ‘sung poetry’ (‘poema cantado’ in Portuguese) fados are not to be equated with ‘songs’ that turn the word into a vehicle – a dominant procedure in, e.g., rock music. Again, ‘voice’ in fado does not so much manifest individual expression; rather it is, as it were, ‘on loan’ from tradition. Keeping some distance from dance, too, fado at the beginning of (...)
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  42. 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 (...)
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  43. 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 (...)
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  44. 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 (...)
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  45. William A. Everett (2012). Why Music Moves Us. By Jeanette Bicknell. The European Legacy 17 (3):407 - 408.
    The European Legacy, Volume 17, Issue 3, Page 407-408, June 2012.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  46. Curtis Fogel (2008). Jenefer Robinson, Deeper Than Reason: Emotion and its Role in Literature, Music, and Art. [REVIEW] Minds and Machines 18 (2):289-292.
  47. Robert Francès (1958). La Perception de la Musique. Librairie Philosophique J. Vrin.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  48. Albert Gehring (1903). The Expression of Emotions in Music. Philosophical Review 12 (4):412-429.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  49. John Gibson & Noel Carroll (eds.) (2011). Narrative, Emotion, and Insight. Penn State UP.
    While narrative has been one of liveliest and most productive areas of research in literary theory, discussions of the nature of emotional responses to art and of the cognitive value of art tend to concentrate almost exclusively on the problem of fiction: How can we emote over or learn from fictions? Narrative, Emotion, and Insight explores what would happen if aestheticians framed the matter differently, having narratives—rather than fictional characters and events—as the object of emotional and cognitive attention. The book (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  50. Alan Goldman (1995). Emotions in Music (a Postscript). Journal of Aesthetics and Art Criticism 53 (1):59-69.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
1 — 50 / 94