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  1. T. Aho (1999). Descartes's Musical Treatise. Acta Philosophica Fennica 64:233-248.
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  2. Lilach Akiva-Kabiri, Omer Linkovski, Limor Gertner & Avishai Henik (2014). Musical Space Synesthesia: Automatic, Explicit and Conceptual Connections Between Musical Stimuli and Space. Consciousness and Cognition 28:17-29.
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  3. James C. Anderson (1985). Musical Kinds. British Journal of Aesthetics 25 (1):43-49.
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  4. S. Araujo (2000). Brazilian Identities and Musical Performances. Diogenes 48 (191):115-125.
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  5. Richard Ashley (2011). Musical Improvisation. In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oup Oxford.
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  6. Stephen Banfield (2004). Scholarship and the Musical: Reclaiming Jerome Kern. Proceedings of the British Academy 125:183-210.
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  7. Christopher Bartel (2008). Charles O. Nussbaum, The Musical Representation: Meaning, Ontology, and Emotion. [REVIEW] Philosophy in Review 28:212-214.
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  8. Alessandro Bertinetto (2012). Paganini Does Not Repeat. Musical Improvisation and the Type/Token Ontology. Teorema: Revista Internacional de Filosofía 31 (3):105-126.
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  9. Edmund Bowles (1974). Extant Medieval Musical Instruments: A Provisional Catalogue By Types. [REVIEW] Speculum 49 (2):324-326.
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  10. Gisèle Brelet (1946). Musiques exotiques et valeurs permanentes de l'art musical. Revue Philosophique de la France Et de l'Etranger 136 (1/3):71 - 96.
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  11. Lee B. Brown (1996). Musical Works, Improvisation, and the Principle of Continuity. Journal of Aesthetics and Art Criticism 54 (4):353-369.
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  12. Margarita Garbisu Buesa (2005). El fenómeno del teatro musical en España. Critica 55 (924):68-71.
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  13. Rodrigo F. Cádiz (2012). Creación Musical En la Era Postdigital. Aisthesis 52:449-475.
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  14. Ben Caplan (2007). Works of Music: An Essay in Ontology. British Journal of Aesthetics 47 (4):445-446.
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  15. Patricia Carpenter (1965). Musical Form Regained. Journal of Philosophy 62 (2):36-48.
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  16. David Carrier (1983). Interpreting Musical Performances. The Monist 66 (2):202-212.
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  17. F. Chiereghin (2002). A Phenomenology of Transition: A Musical Example. Verifiche: Rivista Trimestrale di Scienze Umane 31 (4):315-342.
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  18. I. Chrissochoidis, Towards the Emancipation of the Musical Work.
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  19. Yutthasilp Chuthawichit, Boonsom Yodmalee & Suwimon Poklin (2014). The Conservation and Development of Isan Long-Drum Performances to Promote Local Culture. Asian Culture and History 6 (2):191-195.
    Problem Statement: An Isan long-drum performance is a tradition inherited from ancestors and has an important role in Thai society. Due to outside influence, the tradition has been changed; people failed to keep their ethnic and cultural identity. Despite some development of concepts, a lack of understanding in the art decreased the value of performances to a large extent. The objectives of the study were to examine the historical background and composition of Isan long-drum performances; the current circumstances and problems (...)
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  20. Alice Clark (2004). Guillaume de Machaut and Reims: Context and Meaning in His Musical Works. [REVIEW] The Medieval Review 2.
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  21. Richard Cochrane (2000). Playing by the Rules: A Pragmatic Characterization of Musical Performances. Journal of Aesthetics and Art Criticism 58 (2):135-142.
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  22. José Manuel Pérez Cortijo (1999). Un Apunte Sobre Diversidad Musical. El Basilisco: Revista de Filosofía, Ciencias Humanas, Teoría de la Ciencia y de la Cultura 25:97-98.
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  23. Tm Cowan & L. Schoen (1987). Recognition of Transformed Musical Phrases. Bulletin of the Psychonomic Society 25 (5):339-339.
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  24. Lionel Dauriac (1915). Le Langage Musical. Revue Philosophique de la France Et de l'Etranger 79:137 - 158.
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  25. S. Davies (2013). Performing Musical Works Authentically: A Response to Dodd. British Journal of Aesthetics 53 (1):71-75.
    A kind of musical authenticity Julian Dodd thinks has been neglected, interpretive authenticity, as he calls it, is intended to provide both an insightful and faithful understanding of the work. This kind of authenticity is distinguished from score compliance authenticity (a view I have defended) on grounds that an authentic musical interpretation can sometimes deliberately depart from the score. I argue that none of the four examples Dodd offers in favour of this hypothesis is uncontroversial. I have less faith than (...)
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  26. Stephen Davies (2012). Authentic Performances on Musical Works. Teorema: Revista Internacional de Filosofía 31 (3):81-88.
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  27. Stephen Davies (2008). Musical Works and Orchestral Colour. British Journal of Aesthetics 48 (4):363-375.
    known as timbral sonicism, accepts that a musical work's orchestral colour is a factor in its identity, but denies that the use of the specified instruments is required for an authentic rendition of the work provided that sounds as of those instruments are achieved. This position has been defended by Julian Dodd. In arguing against his view, I appeal to empirical work showing that composers, musicians, and listeners typically hear through music to the actions that go into its production. In (...)
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  28. Stephen Davies (2007). Versions of Musical Works and Literary Translations. In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.
    A less often remarked fact is that a work’s composition can overshoot its completion. It is the description apt for these cases that is the topic of this chapter. But before I get to that, it is useful to describe some of the signs that show a work to be finished.
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  29. Karen Desmond (2013). The Sense of Sound: Musical Meaning in France, 1260-1330. [REVIEW] The Medieval Review 1.
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  30. Julian Dodd (2000). Musical Works as Eternal Types. British Journal of Aesthetics 40 (4):424-440.
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  31. Kenneth Dorter (2007). The Fusion and Diffusion of Musical Traditions1. The European Legacy 9 (2):163-172.
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  32. John Dyck (2014). Perfect Compliance in Musical History and Musical Ontology. British Journal of Aesthetics 54 (1):31-47.
    There’s a common assumption that Western classical music performance essentially involves an ideal of perfect compliance: to perform a musical work, the performer must intend to play all of the notes in the score of that work, without deviating. Many accounts of musical ontology focus on Western classical music; consequently, they take this assumption to be fundamental to their accounts. However, recent musicological research reveals that this ideal is a relatively recent phenomenon, and doesn’t fit much paradigmatic classical music. I (...)
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  33. John Dyck, Did Bach Compose Musical Works? An Evaluation of Goehr's Watershed Thesis.
    This thesis evaluates Lydia Goehr’s claim that the musical work-concept did not regulate musical practice before the watershed date of 1800. In the first chapter, I evaluate Goehr’s arguments for this claim from historical musicology. I appeal both to recent secondary research sources in musicology, and to philosophical analysis. The second and third chapters focus on philosophical aspects of Goehr’s watershed claim. In the second chapter, I focus on understanding Goehr’s claim that a regulative shift occurred during the watershed date—that (...)
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  34. Bengt Edlund (1996). On Scores and Works of Music: Interpretation and Identity. British Journal of Aesthetics 36 (4):367-380.
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  35. Claudio Ferrer (2005). Compositor, intérprete y oyente: el placer de la audición musical. Critica 55 (924):88-89.
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  36. Jennifer Natalya Fink (1997). Performing Poetry, Refashioning Femininity: Anne Sexton's Acoustic Performances. Dissertation, New York University
    My dissertation examines the sonic dimensions of Anne Sexton's lyric poetry. Sexton's poetry and live performances can be read as amplifying the acoustic qualities of the lyric, using sound to refashion femininity. Using recordings of Sexton's readings, plays and performances, I analyze how sound functions to contest and rearticulate notions of femininity, poetry, and performance. ;My project expands the theoretical context in which Sexton's work can be understood, while investigating new ways of understanding larger issues of femininity, sound, and writing. (...)
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  37. Susan Campos Fonseca (2008). ¿ HE (I)-DEGGE (R) Como Material Musical? A Parte Rei: Revista de Filosofía 57:2.
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  38. Simone Frangi (2007). Abstract: Between Musical Atonalism and Philosophical Atonalism: The “Manuscript in a Bottle”. Chiasmi International 9:305-306.
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  39. Julia Galef (2012). God's Favourite Musical. The Philosophers' Magazine 56 (56):112-114.
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  40. Roshmi Goswami (1989). On the 'Incompleteness' of a Musical Work. Indian Philosophical Quarterly 16 (3):345.
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  41. Theodore Gracyk (forthcoming). Who Is the Artist If Works of Art Are Action Types? Journal of Aesthetic Education.
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  42. Theodore Gracyk (2013). Meanings of Songs and Meanings of Song Performances. Journal of Aesthetics and Art Criticism 71 (1):23-33.
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  43. Gordon Graham (2002). Musical Works and Performances. International Philosophical Quarterly 42 (3):409-410.
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  44. Alexandra Lamont & Greasley & Alinka (2011). Musical Preferences. In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oup Oxford.
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  45. William E. Griffiths (1985). A Musical Version Of. The Chesterton Review 11 (1):111-114.
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  46. Gary McPherson & Hallam & Susan (2011). Musical Potential. In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oup Oxford.
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  47. Andy Hamilton (1993). The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Philosophical Books 34 (3):186-188.
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  48. Robert Howell (2002). Types, Indicated and Initiated. British Journal of Aesthetics 42 (2):105-127.
    I defend the conception of musical works as indicated temporally initiated types against Julian Dodd's recent argument that all types are eternal and uncreated. In doing so, I develop a new account of both cultural and natural types. While types are in a certain sense determined by the properties that underlie them, not all properties determine types; and properties such as being indicated by Beethoven exist only once the temporally initiated entities that those properties essentially involve exist. A cultural type (...)
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  49. J. Ingegnieros (1906). Psychophysiologie du Langage Musical. Philosophical Review 15:567.
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  50. Jo Ellen Jacobs (1977). Toward an Ontology of Musical Works of Art. Dissertation, Washington University
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