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  1. Gerhard Albersheim (1960). The Sense of Space in Tonal and Atonal Music. Journal of Aesthetics and Art Criticism 19 (1):17-30.
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  2. Eva Alerby & Cecilia Ferm (2005). Learning Music: Embodied Experience in the Life-World. Philosophy of Music Education Review 13 (2):177-185.
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  3. Philip Alperson (1980). Musical Time" and Music as an "Art of Time. Journal of Aesthetics and Art Criticism 38 (4):407-417.
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  4. Philip Alperson & Noël Carroll (2008). Music, Mind, and Morality: Arousing the Body Politic. Journal of Aesthetic Education 42 (1):1-15.
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  5. Philip Alperson, B. E. N. Chí & To Ngoc Thanh (2007). The Sounding of the World: Aesthetic Reflections on Traditional Gong Music of Vietnam. Journal of Aesthetics and Art Criticism 65 (1):11–20.
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  6. F. G. Asenjo (1966). Polarity and Atonalism. Journal of Aesthetics and Art Criticism 25 (1):47-52.
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  7. 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 ...
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  8. Barbara R. Barry (1990). Musical Time: The Sense of Order. Pendragon Press.
    CHAPTER 1 m Defining Factors: Generic and Individual What is time? as long as no one asks me, I know what it is; but if I wish to explain it to an enquirer, ...
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  9. Christopher Bartel (2010). Why Music Moves Us - Jeanette Bicknell. [REVIEW] Journal of Aesthetics and Art Criticism 68 (3):317-319.
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  10. Joachim Ernst Berendt (1987). Nada Brahma: The World is Sound: Music and the Landscape of Consciousness. Distributed by Harper & Row.
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  11. Meurig Beynon (2011). From Formalism to Experience: A Jamesian Perspective on Music, Computing, and Consciousness. In David Clarke & Eric F. Clarke (eds.), Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. Oxford University Press
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  12. 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 (...)
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  13. Christine A. Brown (2005). Response to Eva Alerby and Cecilia Ferm, "Learning Music: Embodied Experience in the Life-World&Quot. Philosophy of Music Education Review 13 (2):208-210.
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  14. Christine A. Brown (2005). Response to Eva Alerby and Cecilia Ferm, "Learning Music: Embodied Experience in the Life-World&Quot. Philosophy of Music Education Review 13 (2):208-210.
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  15. Wayne Christensen, Doris McIlwain, John Sutton & Andrew Geeves (2008). Critical Review of 'Practicing Perfection: Memory & Piano Performance'. Empirical Musicology Review 3 (3).
    How do concert pianists commit to memory the structure of a piece of music like Bach’s Italian Concerto, learning it well enough to remember it in the highly charged setting of a crowded performance venue, yet remaining open to the freshness of expression of the moment? Playing to this audience, in this state, now, requires openness to specificity, to interpretation, a working dynamicism that mere rote learning will not provide. Chaffin, Imreh and Crawford’s innovative and detailed research suggests that the (...)
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  16. Jonathan Owen Clark (2015). Aesthetic Negativity and Aisthetic Traits. Critical Horizons: A Journal of Philosophy and Social Theory 16 (1):52-69.
    This article concerns the notion of aesthetic negativity, and related ideas regarding the autonomy of art. After giving some initial definitions and a brief historical sketch of these concepts, we will examine the definition proposed by arguably the greatest thinker of aesthetic negativity, Theodor Adorno, and its recent semiotic reconstruction in the work of Christoph Menke. This reconstruction configures aesthetic negativity and autonomy jointly as the capacity of artworks, and the experiences that they occasion; to processurally negate ‘‘automatic’’ modes of (...)
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  17. Tom Cochrane (2015). The Music Between Us: Is Music a Universal Language? By Kathleen Marie Higgins. [REVIEW] Mind 124 (496):1288-1292.
  18. Mark DeBellis (1991). The Representational Content of Musical Experience. Philosophy and Phenomenological Research 51 (June):303-24.
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  19. Julian Dodd (2010). Confessions of an Unrepentant Timbral Sonicist. British Journal of Aesthetics 50 (1):33-52.
    Simplifying somewhat, sonicists believe that works of music are individuated purely in terms of how they sound. For them, exact sound-alikes are identical. Stephen Davies, in his ‘Musical Works and Orchestral Colour’ ( BJA 48 (2008), pp. 363–375) took me to task for defending a version of sonicism. In this paper I seek to explain why Davies's objections miss their mark. In the course of the discussion, I make some methodological remarks about the ontology of music.
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  20. Andreas Dorschel (2008). Musik und Schmerz. Musiktheorie 23 (3):257-263.
    Ancient mythology related music to pain in a twofold way. Pain is the punishment inflicted for producing inferior music: the fate of Marsyas; music is sublimation of pain: the achievement of Orpheus and of Philomela. Both aspects have played defining roles in Western musical culture. Pain’s natural expression is the scream. To be present in music at all, pain needs to be transformed. So even where music expresses pain, at the same time it appeases that very pain. Unlike the scream, (...)
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  21. Andreas Dorschel (ed.) (2007). Resonanzen. Vom Erinnern in der Musik. Universal Edition.
    In "Resonanzen", scholars and artists explore aspects of memory and recollection in music. Composers Georg Friedrich Haas and Isabel Mundry set out how their art involves memory (as well as oblivion). Music historians Laurenz Lütteken, Nicole Schwindt and Klaus Aringer scrutinize the role of memory in early modern music; Anselm Gerhardt, Peter Franklin, László Vikárius and Harald Haslmayr follow up the theme for compositional practice of the 19th and 20th centuries. Aaron Williamon adds a psychological perspective on memory in musical (...)
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  22. Andreas Dorschel (ed.) (2004). Dem Ohr voraus. Erwartung und Vorurteil in der Musik. Universal Edition.
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  23. Andrew Geeves, Doris J. F. McIlwain, John Sutton & Wayne Christensen (2013). To Think or Not To Think: The Apparent Paradox of Expert Skill in Music Performance. Educational Philosophy and Theory (6):1-18.
    Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. For (...)
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  24. Eran Guter (2004). Wittgenstein on Musical Experience and Knowledge. In J. C. Marek & E. M. Reicher (eds.), Experience and Analysis, Contributions to the 27th International Wittgenstein Symposium. Austrian Ludwig Wittgenstein Society
    Wittgenstein’s thinking on music is intimately linked to core issues in his work on the philosophy of psychology. I argue that inasmuch musical experience exemplifies the kind of grammatical complexity that is indigenous to aspect perception and, in general, to concepts that are based on physiognomy, it is rendered by Wittgenstein as a form of knowledge, namely, knowledge of mankind.
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  25. Eran Guter & Inbal Guter (2015). Impurely Musical Make-Believe. In Alexander Bareis & Lene Nordrum (eds.), How to Make-Believe: The Fictional Truths of the Representational Arts. De Gruyter 283-306.
    In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...)
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  26. Andrew Kania (2015). An Imaginative Theory of Musical Space and Movement. British Journal of Aesthetics 55 (2):157-172.
    The experience of notes as higher or lower than one another, and of movement within passages of music, underpins many other musical experiences. Several theories of such an experience have been defended, claiming that concepts of space and movement variously play some sort of metaphorical role in our experience, can be eliminated from musical discourse, or apply literally to the music. I argue that all such theories should be rejected in favour of the view that our experience of musical space (...)
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  27. 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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  28. Andrew Kania, The Philosophy of Music. Stanford Encyclopedia of Philosophy.
    This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.
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  29. P. Kerszberg (1999). The Sound of the Life-World. Continental Philosophy Review 32 (2):169-194.
    Husserl's investigations of internal time-consciousness take sound as the primary temporal object. However, in these investigations, the structure of the flux of temporal subjectivity is established to the detriment of the rich tonal content of sound. Just as Husserl has enlarged the significance of the spatial object of mathematical physics to include the historically-sedimented layers of its appearance, so the temporal object will receive additional intelligibility if the rich texture of musical sound is taken into consideration. Particularly useful for this (...)
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  30. Joel Krueger (2015). Musicing, Materiality, and the Emotional Niche. Action, Criticism, and Theory for Music Education 14 (3):43-62.
    Building on Elliot and SilvermanÕs (2015) embodied and enactive approach to musicing, I argue for an extended approach: namely, the idea that music can function as an environmental scaffolding supporting the development of various experiences and embodied practices that would otherwise remain inaccessible. I focus especially on the materiality of music. I argue that one of the central ways we use music, as a material resource, is to manipulate social spaceÑand in so doing, manipulate our emotions. Acts of musicing, thought (...)
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  31. Joel Krueger (2015). Empathy Beyond the Head: Comment on "Music, Empathy, and Cultural Understanding". Physics of Life Reviews 15:92-93.
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  32. Joel Krueger (2011). Doing Things with Music. Phenomenology and the Cognitive Sciences 10 (1):1-22.
    This paper is an exploration of how we do things with music—that is, the way that we use music as an esthetic technology to enact micro-practices of emotion regulation, communicative expression, identity construction, and interpersonal coordination that drive core aspects of our emotional and social existence. The main thesis is: from birth, music is directly perceived as an affordance-laden structure. Music, I argue, affords a sonic world, an exploratory space or nested acoustic environment that further affords possibilities for, among other (...)
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  33. Joel Krueger (2011). Enacting Musical Content. In Riccardo Manzotti (ed.), Situated Aesthetics: Art Beyond the Skin. Imprint Academic 63-85.
    This chapter offers the beginning of an enactive account of auditory experience—particularly the experience of listening sensitively to music. It investigates how sensorimotor regularities grant perceptual access to music qua music. Two specific claims are defended: (1) music manifests experientially as having complex spatial content; (2) sensorimotor regularities constrain this content. Musical content is thus brought to phenomenal presence by bodily exploring structural features of music. We enact musical content.
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  34. Joel Krueger (2009). Enacting Musical Experience. Journal of Consciousness Studies 16 (2-3):98-123.
    I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we listen to music with (...)
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  35. Catherine Legg (2002). Review of Naomi Cumming, "The Sonic Self: Musical Subjectivity and Signification". [REVIEW] Recherches Semiotiques / Semiotic Inquiry 22 (1-2-3):315-327.
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  36. Eldonna L. May (2014). Interpretation. In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage
  37. Brandon Polite (2014). The Varieties of Musical Experience. Pragmatism Today 5 (2):93-100.
    Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the (...)
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  38. Friedlind Riedel (2015). Music as Atmosphere. Lines of Becoming in Congregational Worship. Lebenswelt. Aesthetics and Philosophy of Experience 6:80-111.
    In this paper I offer critical attention to the notion of atmosphere in relation to music. By exploring the concept through the case study of the Closed Brethren worship services, I argue that atmosphere may provide analytical tools to explore the ineffable in ecclesial practices. Music, just as atmosphere, commonly occupies a realm of ineffability and undermines notions such as inside and outside, subject and object. For this reason I present music as a means of knowing the atmosphere. The first (...)
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  39. David Roden (2010). Sonic Art and the Nature of Sonic Events. Review of Philosophy and Psychology 1 (1):141-156.
    Musicians and theorists such as the radiophonic pioneer Pierre Schaeffer, view the products of new audio technologies as devices whereby the experience of sound can be displaced from its causal origins and achieve new musical or poetic resonances. Accordingly, the listening experience associated with sonic art within this perspective is ‘acousmatic’; the process of sound generation playing no role in the description or understanding of the experience as such. In this paper I shall articulate and defend a position according to (...)
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  40. Tiger C. Roholt (2013). In Praise of Ambiguity: Musical Subtlety and Merleau-Ponty. Contemporary Aesthetics 11.
    When a jazz, rock, or hip-hop drummer strikes certain notes in each measure slightly late, instead of hearing the degree to which those notes are late, we typically hear the effects of those variations; namely, a groove, the "feel" of a rhythm. Slight variations of pitch function similarly. In this essay, I argue that certain analytic theorists go astray due to their preoccupation with the variations themselves. By invoking Maurice Merleau- Ponty's insights into subtle visual perceptions, and his notion of (...)
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  41. Tiger C. Roholt (2010). Musical Musical Nuance. Journal of Aesthetics and Art Criticism 68 (1):1-10.
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  42. Tiger C. Roholt (2009). Musical Experience, Philosophical Perspectives. In Tim Bayne, Axel Cleeremans & Patrick Wilken (eds.), Oxford Companion to Consciousness. Oxford University Press
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  43. Nick Zangwill (2010). Scruton's Musical Experiences. Philosophy 85 (1):91-104.
    Roger Scruton’s account of the nature of music and our experience of it foregrounds the imagination. It is a particularly interesting and promising ‘non-realist’ view in the aesthetics of music, in the sense that it does not postulate aesthetic properties of music that we represent in musical experience. In this paper I critically examine both Scruton’s view and his main argument for it.
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