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  1. Laird Addis (1999). Of Mind and Music. Cornell University Press.
    In this account of the way in which we understand music, Laird Addis explains how sounds can have such profound effects on those listening to them.
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  2. 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 (...)
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  3. Randall Everett Allsup (2005). Hard Times: Philosophy and the Fundamentalist Imagination. Philosophy of Music Education Review 13 (2):139-142.
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  4. Randall Everett Allsup (2005). A Response to Estelle R. Jorgensen, "Four Philosophical Models of the Relationship Between Theory and Practice&Quot. Philosophy of Music Education Review 13 (1):104-108.
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  5. 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.
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  6. H. Appelqvist (2013). Wittgenstein and the Limits of Musical Grammar. British Journal of Aesthetics 53 (3):299-319.
    This paper offers a Kantian reading of Wittgenstein’s later conception of rules. Building on the continuity of Wittgenstein’s comparison between a sentence and a musical theme, the paper argues that central elements of the Kantianism one may find in Wittgenstein’s early philosophy carry over to his mature conception of grammar. Moreover, this Kantian reading offers a novel perspective on the puzzle about the normativity of Wittgenstein’s later notion of rules. It is argued that the normativity of an aesthetic judgement, understood (...)
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  7. Michael W. Apple (2003). Competition, Knowledge, and the Loss of Educational Vision. Philosophy of Music Education Review 11 (1):3-22.
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  8. Anneli Arho (2006). Rethinking Variations of Musical Meaningfulness. Philosophy of Music Education Review 14 (1):55-64.
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  9. Bernadette Baker (2002). Evaluation, Standards, Normalization: Historico-Philosophical Formations and the Conditions of Possibility for Checklist Thought. Philosophy of Music Education Review 10 (2):92-101.
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  10. Daniel Barenboim (2004). Parallels and Paradoxes: Explorations in Music and Society. Vintage Books.
    These free-wheeling, often exhilarating dialogues—which grew out of the acclaimed Carnegie Hall Talks—are an exchange between two of the most prominent figures in contemporary culture: Daniel Barenboim, internationally renowned conductor and pianist, and Edward W. Said, eminent literary critic and impassioned commentator on the Middle East. Barenboim is an Argentinian-Israeli and Said a Palestinian-American; they are also close friends. As they range across music, literature, and society, they open up many fields of inquiry: the importance of a sense of place; (...)
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  11. Alexander Becker & Matthias Vogel (eds.) (2007). Musikalischer Sinn: Beiträge Zu Einer Philosophie der Musik. Suhrkamp.
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  12. 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.
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  13. Karol Berger, Anthony Newcomb & Reinhold Brinkmann (eds.) (2005). Music and the Aesthetics of Modernity: Essays. Distributed by Harvard University Press.
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  14. Laurence D. Berman (1993). The Musical Image: A Theory of Content. Greenwood Press.
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  15. 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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  16. 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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  17. 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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  18. Tom Cochrane (2010). Using the Persona to Express Complex Emotions in Music. Music Analysis 29 (1-3):264-275.
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  19. Stephen Davies (1994). Musical Understanding and Musical Kinds. Journal of Aesthetics and Art Criticism 52 (1):69-81.
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  20. 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).
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  21. Rafael De Clercq (2007). Melody and Metaphorical Movement. British Journal of Aesthetics 47 (2):156-168.
    In recent issues of this journal, Roger Scruton and Malcolm Budd have debated the question whether hearing a melody in a sequence of sounds necessarily involves an ‘unasserted thought’ about spatial movement. According to Scruton, the answer is ‘yes’; according to Budd, the answer is ‘no’. The conclusion of this paper is that, while Budd may have underestimated the viability of Scruton's thesis in one of its possible interpretations, there is no good reason to assume that the thesis is true. (...)
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  22. Mark DeBellis (1991). The Representational Content of Musical Experience. Philosophy and Phenomenological Research 51 (June):303-24.
  23. 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 (...)
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  24. David J. Elliott (2005). Musical Understanding, Musical Works, and Emotional Expression: Implications for Education. Educational Philosophy and Theory 37 (1):93–103.
  25. 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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  26. A. Hamilton (2005). Review: New Essays On Musical Understanding. [REVIEW] Mind 114 (453):169-173.
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  27. Erkki Huovinen (2008). Levels and Kinds of Listeners' Musical Understanding. British Journal of Aesthetics 48 (3):315-337.
    This article examines an account of the listener's musical understanding put forward by Stephen Davies. I begin by discussing Davies's "expressibility requirement", according to which a musical listener should be able to express his understanding in sentences that are truth-apt. This is followed by a reconstruction of Davies's argument for the idea that high levels of musical understanding can be attained without possessing music-theoretical concepts. Such a conclusion is seen to follow from his belief that although musical understandings may be (...)
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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. Peter Kivy (2001). New Essays on Musical Understanding. Clarendon.
    Peter Kivy presents a selection of his new and recent writings on the philosophy of music--an area to which he has been one of the most eminent contributors. In his distinctively elegant and informal style, Kivy explores such topics as musicology and its history, the nature of musical works, and the role of emotion in music, and does so in a way that will attract the interest of philosophical and musical readers alike. Most works are published here for the first (...)
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  30. Peter Kivy (1990). Music Alone: Philosophical Reflections on the Purely Musical Experience. Cornell University Press.
    In the Essai sur Vorigine des langues (), Jean-Jacques Rousseau reports on an eighteenth-century curiosity that has, from time to time, fascinated musicians ...
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  31. Constantijn Koopman (2002). New Essays on Musical Understanding. British Journal of Aesthetics 42 (4):428-430.
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  32. Catherine Legg (2002). Review of Naomi Cumming, "The Sonic Self: Musical Subjectivity and Signification&Quot;. [REVIEW] Recherches Semiotiques / Semiotic Inquiry 22 (1-2-3):315-327.
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  33. Aaron Ridley (2003). Against Musical Ontology. Journal of Philosophy 100 (4):203 - 220.
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  34. Aaron Ridley (1993). Bleeding Chunks: Some Remarks About Musical Understanding. Journal of Aesthetics and Art Criticism 51 (4):589-596.
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  35. Jenefer Robinson (2009). Review of Charles O. Nussbaum, The Musical Representation: Meaning, Ontology, and Emotion. [REVIEW] Notre Dame Philosophical Reviews 2009 (3).
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  36. Rob van Gerwen (2008). Expression as Success. The Psychological Reality of Musical Performance. Estetika 45 (1):24-40.
    Roger Scruton’s ontology of sound is found wanting on two counts. Scruton removes from music the importance of the performer’s manipulating of his instrument. This misconceives the phenomenology of hearing and, as a consequence, impoverishes our understanding of music. I argue that the musician’s manipulations can be heard in the music; and, in a discussion of notions developed by Richard Wollheim and Jerrold Levinson, that these manipulations have psychological reality, and that it is this psychological reality which brings to life (...)
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  37. Sarah E. Worth (1997). Wittgenstein's Musical Understanding. British Journal of Aesthetics 37 (2):158-167.
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  38. James O. Young (2012). Resemblance, Convention, and Musical Expressiveness. The Monist 95 (4):587-605.
    Peter Kivy and Stephen Davies developed an influential and convincing account of what features of music cause listeners to hear it as expressive of emotion. Their view (the resemblance theory) holds that music is expressive of some emotion when it resembles human expressive behaviour. Some features of music, they believe, are expressive of emotion because of conventional associations. In recent years, Kivy has rejected the resemblance theory without adopting an alternative. This essay argues that Kivy has been unwise to abandon (...)
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  39. James O. Young (1999). The Cognitive Value of Music. Journal of Aesthetics and Art Criticism 57 (1):41-54.
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  40. 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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  41. Eddy M. Zemach (2002). The Role of Meaning in Music. British Journal of Aesthetics 42 (2):169-178.
    It has been persuasively argued that music refers. For example, a passage that resembles the demeanour of people under the sway of emotion E is seen as itself being E and, thus, as referring to E. Yet what is the purpose of such reference? Serious music, I say, works as a proof. A passage that refers to E is cast as a well-formed formula in a calculus. That formula is then creatively developed in accordance with the rules of that calculus (...)
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