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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. L. K. B. (1957). Physics and Metaphysics of Music and Essays on the Philosophy of Mathematics. Review of Metaphysics 11 (2):352-352.
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  9. 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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  10. 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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  11. Douglas Bartholomew (forthcoming). Sounds Before Symbols: What Does Phenomenology Have to Say? Philosophy of Music Education Review.
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  12. 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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  13. Gustav Becking (2011). How Musical Rhythm Reveals Human Attitudes. Lang.
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  14. 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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  15. Cathy Benedict (2013). Capitalist Rationality: Comparing the Lure of the Infinite. Philosophy of Music Education Review 21 (1):8-22.
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  16. 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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  17. 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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  18. 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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  19. 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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  20. 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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  21. 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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  22. 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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  23. J. Bicknell (2005). Philosophy of Music: An Introduction. British Journal of Aesthetics 45 (4):447-448.
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  24. Jeanette Bicknell (forthcoming). Explaining Strong Emotional Responses to Music: Sociality and Intimacy. Journal of Consciousness Studies.
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  25. 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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  26. Jeanette Bicknell & John Andrew Fisher (eds.) (2013). Song, Songs, and Singing. John Wiley & Sons.
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  27. 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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  28. 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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  29. Martin Bidney (2004). The Aesthetics of Music. International Studies in Philosophy 36 (1):289-290.
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  30. 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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  31. 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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  32. 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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  33. Deanne Bogdan (forthcoming). Pythagoras' Rib or, What Does Music Education Want? Philosophy of Music Education Review.
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  34. 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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  35. 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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  36. 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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  37. 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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  38. 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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  39. 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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  40. 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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  41. 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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  42. Mark Evan Bonds (1991). Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Harvard University Press.
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  43. 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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  44. 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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  45. M. G. Boroda (ed.) (1995). Units, Text and Language: An Interdisciplinary Approach. Universitätsverlag Dr. N. Brockmeyer.
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  46. M. G. Boroda (ed.) (1993). Fundamentals of Musical Language: An Interdisciplinary Approach. Universitätsverlag Dr. N. Brockmeyer.
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  47. B. B. Borodin (2004). Komicheskoe V Muzyke: Monografii͡a. Kompozitor.
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  48. Hiren Bose (1988). Philosophy in Indian Music. Rupa & Co..
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  49. Enrico Bottegal (2011). L'uomo E la Musica: Dal Suono Interiore Alla Favola Dell'imparare: Tre Prospettive Interdisciplinari. Eum.
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  50. Guy Bouchard (1994). Music and the Emotions. Review of Metaphysics 47 (4):802-803.
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1 — 50 / 1387