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  1. James Ackman (2007). Thinking Musically, And: Teaching Music Globally (Review). Philosophy of Music Education Review 15 (1):81-87.
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  2. James Ackman (2007). Bonnie C. Wade, Thinking Musically (Oxford University Press: New York, 2004) and Patricia Shehan Campbell, Teaching Music Globally (Oxford University Press: New York, 2004). [REVIEW] Philosophy of Music Education Review 15 (1):81-90.
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  3. Randall Everett Allsup (forthcoming). Activating Self-Transformation Through Improvisation in Instrumental Music Teaching. Philosophy of Music Education Review 5 (2).
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  4. Randall Everett Allsup (forthcoming). Music Education as Liberatory Practice: Exploring the Ideas of Milan Kundera. Philosophy of Music Education Review 9 (2):3-10.
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  5. Randall Everett Allsup (2011). Sequoias, Mavericks, Open Doors… Composing Joan Tower. Philosophy of Music Education Review 19 (1):24-36.
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  6. Philip Alperson (2010). Robust Praxialism and the Anti-Aesthetic Turn. Philosophy of Music Education Review 18 (2):171-193.
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  7. Diane Apostolos-Cappadona (forthcoming). On the Music of the Spheres: Unifying Religion and the Arts. Philosophy of Music Education Review.
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  8. David Baker (2010). Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical Experience (Review). Philosophy of Music Education Review 18 (2):204-208.
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  9. Márcio Benchimol Barros (2012). Música como aia da vontade: ensaio sobre a leitura wagneriana de Schopenhauer. Kriterion 53 (125):179-193.
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  10. Douglas Bartholomew (forthcoming). Sounds Before Symbols: What Does Phenomenology Have to Say? Philosophy of Music Education Review.
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  11. Elizabeth Anne Bauer (2004). Response to June Boyce-Tillman, "Towards an Ecology of Music Education&Quot. Philosophy of Music Education Review 12 (2):186-188.
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  12. Gustav Becking (2011). How Musical Rhythm Reveals Human Attitudes. Lang.
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  13. Ricciarda Belgiojoso (2010). Construire l'Espace Urbain Avec les Sons. L'harmattan.
    Qu'est-ce que la musique et les expérimentations artistiques peuvent nous apprendre à propos de la ville ?
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  14. Cathy Benedict (2013). Capitalist Rationality: Comparing the Lure of the Infinite. Philosophy of Music Education Review 21 (1):8-22.
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  15. Cathy Benedict (2007). Naming Our Reality: Negotiating and Creating Meaning in the Margin. Philosophy of Music Education Review 15 (1):23-36.
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  16. Christian Berger (2006). Musik Nach Kant. In Hans Heinrich Eggebrecht, Michael Beiche & Albrecht Riethmüller (eds.), Musik--Zu Begriff Und Konzepten: Berliner Symposion Zum Andenken an Hans Heinrich Eggebrecht. Franz Steiner.
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  17. Walter Bernhart (2010). Christophorus, Oder "Die Vision Einer Oper" : Franz Schreker's Opera as a Metareferential Work. In Walter Bernhart & Werner Wolf (eds.), Self-Reference in Literature and Other Media. Rodopi.
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  18. Alessandro Bertirotti & Maria Rosaria Strollo (eds.) (2007). Traghettare Il Pensiero: La Musica Come Variabile Caronte: Contributi Pedagogici E Sociologici. F. Angeli.
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  19. Arun Kumar Bhattacharya (1974). Dimensions: Philosophical Essays on the Nature of Music and Poetry. K. P. Bagchi on Behalf of Uttarsuri.
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  20. Giorgio Biancorosso (2004). Film, Music, and the Redemption of the Mundane. In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge.
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  21. J. Bicknell (2011). Soul Music: Tracking the Spiritual Roots of Pop From Plato to Motown. British Journal of Aesthetics 51 (3):338-340.
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  22. J. Bicknell (2005). Philosophy of Music: An Introduction. British Journal of Aesthetics 45 (4):447-448.
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  23. Jeanette Bicknell (2009). Why Music Moves Us. Palgrave Macmillan.
    The tears of Odysseus -- History : music gives voice to the ineffable -- Tears, chills, and broken bones -- The music itself -- Explaining strong emotional responses to music I -- Explaining strong emotional responses to music II -- The sublime, revisited -- Conclusion : values.
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  24. Jeanette Bicknell & John Andrew Fisher (eds.) (2013). Song, Songs, and Singing. John Wiley & Sons.
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  25. I. Biddle (2003). Of Mice and Dogs : Music, Gender and Sexuality at the Long Fin de Siècle. In Martin Clayton, Trevor Herbert & Richard Middleton (eds.), The Cultural Study of Music: A Critical Introduction. Routledge. 215--226.
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  26. Ian Biddle (2011). Listening, Consciousness, and the Charm of the Universal: What It Feels Like for a Lacanian. In David Clarke & Eric F. Clarke (eds.), Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. Oxford University Press. 65.
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  27. Martin Bidney (2004). The Aesthetics of Music. International Studies in Philosophy 36 (1):289-290.
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  28. Ansuman Biswas (2011). The Music of What Happens: Mind, Meditation, and Music as Movement. In David Clarke & Eric F. Clarke (eds.), Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. Oxford University Press.
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  29. Ernst Bloch (1985). Essays on the Philosophy of Music. Cambridge University Press.
    This volume contains a selection of essays in translation by the German philosopher and man of letters Ernst Bloch (1885-1977), on the philosophy of music. For Bloch - often simply assimilated to the Marxist tradition, but whose thought shows a strongly individual and idealist cast - music was a primary focus on reflection. His musical knowledge and expertise were of a very high order and he was well acquainted with many of the leading composers and theorists of music of his (...)
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  30. Eric Blom (1928/1972). The Limitations of Music. New York,B. Blom.
    INTRODUCTION The Principle of Limitation. For the benefit of the reviewer, whose task is, as we know from Sydney Smith, to cut a book and smell the paper ...
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  31. Deanne Bogdan (forthcoming). Pythagoras' Rib or, What Does Music Education Want? Philosophy of Music Education Review.
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  32. Deanne Bogdan (2010). The Shiver-Shimmer Factor: Musical Spirituality, Emotion, and Education. Philosophy of Music Education Review 18 (2):111-129.
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  33. Deanne Bogdan (2002). Situated Sensibilities and the Need for Coherence: Musical Experience Reconsidered. Philosophy of Music Education Review 10 (2):125-128.
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  34. Deanne Bogdan, David Carr, Iris M. Yob, Anthony J. Palmer & Philip Alperson (2010). 7. in memoriam. Philosophy of Music Education Review 18 (2).
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  35. Deanne Bogdan, Claudia Eppert, Candace Yang & Charlene Morton (2002). Symposium: Art and Aesthetic Education in Times of Terror: Negotiating an Ethics and Aesthetics of Answerability. Philosophy of Music Education Review 10 (2):124-139.
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  36. P. Bohlman (2003). Music and Culture : Historiographies of Disjuncture. In Martin Clayton, Trevor Herbert & Richard Middleton (eds.), The Cultural Study of Music: A Critical Introduction. Routledge. 45--56.
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  37. Philip V. Bohlman (2011). Reflexive Musikethnologie Jenseits des Spiegelkabinetts: Zum Andenken an Rüdiger Schumacher. In Wolfram Steinbeck & Rüdiger Schumacher (eds.), Selbstreflexion in der Musik/Wissenschaft: Referate des Kölner Symposions 2007: Im Gedenken an Rüdiger Schumacher. Gustav Bosse Verlag.
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  38. Tatjana Böhme-Mehner, Klaus Mehner & Motje Wolf (eds.) (2008). Elektroakustische Musik: Technologie, Ästhetik Und Theorie Als Herausforderung an Die Musikwissenschaft = Electroacoustic Music: Technologies, Aesthetics, and Theories: A Musical Challenge. Blaue Eule.
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  39. Sergio Bonanzinga (2011). Sicily : Navigating Responses to Global Cultural Patterns. In Godfrey Baldacchino (ed.), Island Songs: A Global Repertoire. Scarecrow Press.
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  40. Mark Evan Bonds (1991). Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Harvard University Press.
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  41. Benjamin Boretz (1995). Meta-Variations: Studies in the Foundations of Musical Thought. Open Space.
    v. 1. Meta-variations : studies in the foundations of musical thought -- v. 2. Compose yourself : a manual for the young.
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  42. Gianmario Borio (2006). Dire Cela, Sans Savoir Quoi : The Question of Meaning in Adorno and in the Musical Avantgarde. In Berthold Hoeckner (ed.), Apparitions: New Perspectives on Adorno and Twentieth Century Music. Routledge.
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  43. M. G. Boroda (ed.) (1995). Units, Text and Language: An Interdisciplinary Approach. Universitätsverlag Dr. N. Brockmeyer.
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  44. M. G. Boroda (ed.) (1993). Fundamentals of Musical Language: An Interdisciplinary Approach. Universitätsverlag Dr. N. Brockmeyer.
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  45. B. B. Borodin (2004). Komicheskoe V Muzyke: Monografii͡a. Kompozitor.
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  46. Hiren Bose (1988). Philosophy in Indian Music. Rupa & Co..
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  47. Enrico Bottegal (2011). L'uomo E la Musica: Dal Suono Interiore Alla Favola Dell'imparare: Tre Prospettive Interdisciplinari. Eum.
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  48. Andrew Bowie (2007). Music, Philosophy, and Modernity. Cambridge University Press.
    Modern philosophers generally assume that music is a problem to which philosophy ought to offer an answer. Andrew Bowie’s Music, Philosophy, and Modernity suggests, in contrast, that music might offer ways of responding to some central questions in modern philosophy. Bowie looks at key philosophical approaches to music ranging from Kant, through the German Romantics and Wagner, to Wittgenstein, Heidegger and Adorno. He uses music to re-examine many current ideas about language, subjectivity, metaphysics, truth, and ethics, and he suggests that (...)
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  49. Wayne D. Bowman (forthcoming). Sound, Society, and Music" Proper". Philosophy of Music Education Review.
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  50. Wayne D. Bowman (1998). Philosophical Perspectives on Music. Oxford University Press.
    Designed to introduce music students and musicians to the vitality of music philosophical discourse, Philosophical Perspectives on Music explores diverse accounts of the nature and value of music. It offers an accessible, even-handed consideration of philosophical orientations without advocating any single one, demonstrating that there are a number of ways in which music may reasonably be understood. This unique approach examines the strengths and advantages of each perspective as well as its inevitable shortcomings. From the pre-Socratic Greeks to idealism, through (...)
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1 — 50 / 1367