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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. 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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  8. 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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  9. Margarita Garbisu Buesa (2005). El fenómeno del teatro musical en España. Critica 55 (924):68-71.
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  10. Rodrigo F. Cádiz (2012). Creación Musical En la Era Postdigital. Aisthesis 52:449-475.
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  11. Ben Caplan (2007). Works of Music: An Essay in Ontology. British Journal of Aesthetics 47 (4):445-446.
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  12. Patricia Carpenter (1965). Musical Form Regained. Journal of Philosophy 62 (2):36-48.
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  13. David Carrier (1983). Interpreting Musical Performances. The Monist 66 (2):202-212.
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  14. F. Chiereghin (2002). A Phenomenology of Transition: A Musical Example. Verifiche: Rivista Trimestrale di Scienze Umane 31 (4):315-342.
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  15. 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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  16. 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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  17. Tm Cowan & L. Schoen (1987). Recognition of Transformed Musical Phrases. Bulletin of the Psychonomic Society 25 (5):339-339.
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  18. 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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  19. Stephen Davies (2012). Authentic Performances on Musical Works. Teorema: Revista Internacional de Filosofía 31 (3):81-88.
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  20. 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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  21. 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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  22. Julian Dodd (2000). Musical Works as Eternal Types. British Journal of Aesthetics 40 (4):424-440.
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  23. Kenneth Dorter (2007). The Fusion and Diffusion of Musical Traditions1. The European Legacy 9 (2):163-172.
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  24. 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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  25. 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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  26. Bengt Edlund (1996). On Scores and Works of Music: Interpretation and Identity. British Journal of Aesthetics 36 (4):367-380.
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  27. Claudio Ferrer (2005). Compositor, intérprete y oyente: el placer de la audición musical. Critica 55 (924):88-89.
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  28. Susan Campos Fonseca (2008). ¿ HE (I)-DEGGE (R) Como Material Musical? A Parte Rei: Revista de Filosofía 57:2.
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  29. Simone Frangi (2007). Abstract: Between Musical Atonalism and Philosophical Atonalism: The “Manuscript in a Bottle”. Chiasmi International 9:305-306.
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  30. Julia Galef (2012). God's Favourite Musical. The Philosophers' Magazine 56 (56):112-114.
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  31. Theodore Gracyk (forthcoming). Who Is the Artist If Works of Art Are Action Types? Journal of Aesthetic Education.
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  32. 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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  33. Gordon Graham (2002). Musical Works and Performances. International Philosophical Quarterly 42 (3):409-410.
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  34. 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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  35. William E. Griffiths (1985). A Musical Version Of. The Chesterton Review 11 (1):111-114.
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  36. 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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  37. 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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  38. 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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  39. Robin James (2002). The Musical Semiotic. Philosophy Today 46 (5):113-119.
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  40. Paul G. Johnsen (1989). Gregorian Chant as Musical Puzzles. Semiotics:185-192.
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  41. Annette Jung (1996). Syntomon, A Musical Genre From Around AD 800. Cahiers de l'Institut du Moyen-Âge Grec Et Latin 66:25.
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  42. Andrew Kania (2013). Contemporary Musical Ontology. In Christy Mag Uidhir (ed.), Art and Abstract Objects. Oxford University Press. 197.
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  43. Andrew Kania (2010). Novas Tendências Em Ontologia Musical. Critica.
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  44. Andrew Kania (2008). New Waves in Musical Ontology. In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave Macmillan. 20--40.
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  45. Andrew Kania (2003). Review: Musical Works and Performances: A Philosophical Exploration. [REVIEW] Mind 112 (447):513-518.
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  46. Vladimir Karbusicky (1995). On the Genesis of the Musical Sign. In Eero Tarasti (ed.), Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton de Gruyter. 121--229.
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  47. Simon Kirby (2011). Darwin's Musical Protolanguage: An Increasingly Compelling Picture. In Patrick Rebuschat, Martin Rohrmeier, John A. Hawkins & Ian Cross (eds.), Language and Music as Cognitive Systems. Oup Oxford. 96.
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  48. Peter Kivy (2009). Musical morality. Revue Internationale de Philosophie 4:397-412.
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  49. Peter Kivy (2000). How to Forge a Musical Work. Journal of Aesthetics and Art Criticism 58 (3):233-235.
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  50. Peter Kivy (1983). Platonism in Music. Grazer Philosophische Studien 19:109-129.
    Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...)
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1 — 50 / 226