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  1. Carolyn Abbate (2004). Music—Drastic or Gnostic? Critical Inquiry 30 (3):505-536.
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  2. F. Abbri & Elio Matassi (2000). Musica E Filosofia. Monograph Collection (Matt - Pseudo).
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  3. Giul naz Abdullazade (1985). Filosofskaia Sushchnost Muzykal Nogo Iskusstva. Ishyg.
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  4. Joseph Abramo (2014). Music Education That Resonates: An Epistemology and Pedagogy of Sound. Philosophy of Music Education Review 22 (1):78-95.
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  5. Christian Accaoui (2001). Le Temps Musical. Monograph Collection (Matt - Pseudo).
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  6. James Ackman (2007). Thinking Musically, And: Teaching Music Globally (Review). Philosophy of Music Education Review 15 (1):81-87.
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  7. 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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  8. Victoria Adamenko (2000). Neo-Mythologism in Twentieth-Century Music. Dissertation, Rutgers the State University of New Jersey - New Brunswick
    This dissertation examines the ways in which mythological thought, with all its specific characteristics, reveals itself in twentieth-century artistic consciousness. According to modern scholarship, a mythological component has always been present in culture, whether archaic or modern. The mythological features of many twentieth-century compositions are often obvious and are commonly mentioned in various sources, from program notes to scholarly works. There has not been yet, however, any research that focuses specifically on this century's music and its unique correlations with mythology. (...)
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  9. John Stokes Adams Jr (1942). Esthetic of Music and the Rational Ideal. In Francis P. Clarke & Milton Charles Nahm (eds.), Philosophical Essays in Honor of Edgar Arthur Singer, Jr. London, H. Milford, Oxford University Press
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  10. Elizabeth Kemper Adams (1906). Ngegnieros on La Psychophysiologie du Language Musical. [REVIEW] Journal of Philosophy 3 (16):444.
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  11. So Afolabi (2001). Christianity and Traditional Music: The Need for Reconciliation of Separated Compartibles. In Gbola Aderibigbe & Deji Ayegboyin (eds.), Religion and Social Ethics. National Association for the Study of Religions and Education (Nasred) 82.
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  12. Kofi Agawu (1994). Ambiguity in Tonal Music. A Preliminary Study. In Anthony Pople (ed.), Theory, Analysis and Meaning in Music. Cambridge University Press 86--107.
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  13. Agostino Agazzari & Marco Scacchi (1993). Polemics on the "Musica Moderna" Agostino Agazzari, la Musica Ecclesiastica ; Marco Scacchi, Breve Discorso Sopra la Musica Moderna. Monograph Collection (Matt - Pseudo).
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  14. Vanessa Agnew (2008). Enlightenment Orpheus: The Power of Music in Other Worlds. OUP Usa.
    The Enlightenment saw a critical engagement with the ancient idea that music carries certain powers - it heals and pacifies, civilizes and educates. Yet this interest in musical utility seems to conflict with larger notions of aesthetic autonomy that emerged at the same time. In Enlightenment Orpheus, Vanessa Agnew examines this apparent conflict, and provocatively questions the notion of an aesthetic-philosophical break between the eighteenth and nineteenth centuries.
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  15. D. C. C. Agu (1990). The Primacy of Music in Igbo Traditional Religion. In Emma Ekpunobi & Ifeanyi Ezeaku (eds.), Socio-Philosophical Perspective of African Traditional Religion. New Age Publishers
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  16. Rita Aiello (1994). Can Listening to Music Be Experimentally Studied. In Rita Aiello & John A. Sloboda (eds.), Musical Perceptions. Oxford University Press 273--282.
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  17. Rita Aiello (1994). Music and Language: Parallels and Contrasts. In Rita Aiello & John A. Sloboda (eds.), Musical Perceptions. Oxford University Press 40--63.
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  18. Hugh Aitken (1997). The Piece as a Whole Studies in Holistic Musical Analysis. Monograph Collection (Matt - Pseudo).
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  19. Abd Allah Ibn Muhammad Ibn Abi Al-Dunya, Al-Ghazzali Ahmad Ibn Muhammad & James Robson (1938). Tracts on Listening to Music Being Dhamm Al-Malahi. The Royal Asiatic Society.
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  20. Alain (1927). La Visite au Musicien. Nouvelle Revue Française.
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  21. Daniel Albright (2004). Modernism and Music an Anthology of Sources. Monograph Collection (Matt - Pseudo).
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  22. H. B. Alexander (1912). Britan's The Philosophy of Music: A Comparative Investigation Into the Principles of Musical Esthetics. [REVIEW] Journal of Philosophy 9 (11):305.
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  23. Russell Thomas Alfonso (1996). Musical Understanding: Theory of Musical Description or Theory of Musical Perception? Dissertation, University of Hawai'i
    The prevalent view today concerning musical understanding is that a necessary condition of musical understanding is the verbal ability to describe music. In the first two chapters I critically examine two kinds of theory of musical description: in chapter one, I consider the positions of Peter Kivy and Roger Scruton, which represent the view that verbal descriptions are essential to musical understanding; in chapter two, I consider the positions of Peter Kivy, Jenifer Robinson, Harold Fiske, and Nelson Goodman, which represent (...)
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  24. Regine Allgayer-Kaufmann (1996). Der Kampf des Hundes MIT Dem Jaguar Bandas de P'ifanos in Nordostbrasilien : Ein Beitrag Zur Musikèasthetik. Monograph Collection (Matt - Pseudo).
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  25. Evangelical Alliance (1968). Background to the Task Supplement to on the Other Side, the Report of the Evangelical Alliance Commission on Evangelism. Scripture Union.
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  26. Randall Everett Allsup (forthcoming). Activating Self-Transformation Through Improvisation in Instrumental Music Teaching. Philosophy of Music Education Review 5 (2).
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  27. 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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  28. Randall Everett Allsup (2011). Sequoias, Mavericks, Open Doors… Composing Joan Tower. Philosophy of Music Education Review 19 (1):24-36.
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  29. Aires Almeida (forthcoming). Eduard Hanslick: Do belo musical. Critica.
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  30. Byron Almén (2005). Musical “Temperament”: Theorists and the Functions of Musical Analysis. Theoria 12:46.
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  31. Philip Alperson (forthcoming). Value Monism, Value Pluralism, and Music Education: Sparshott as Fox. Journal of Aesthetic Education 31 (2).
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  32. Philip Alperson (2010). Robust Praxialism and the Anti-Aesthetic Turn. Philosophy of Music Education Review 18 (2):171-193.
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  33. Philip Alperson (2009). Englischsprachige Philosophie der Musik: Ein Blick von Irgendwo. Deutsche Zeitschrift für Philosophie 57 (6):879-884.
    Contemporary Anglophone philosophy of music has eschewed traditional philosophical concerns about the place of music in human affairs, concentrating instead on a more restricted domain of musical meaning related to aesthetic considerations which are ultimately tied to the concept of disinterested aesthetic experience. I argue that this emphasis needs to be supplemented by an attention to the “instrumentality” of music, understanding music in relation to questions of the social and cultural purposes that music might serve and thereby broadening the idea (...)
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  34. Philip Alperson (1998). Musical Worlds New Directions in the Philosophy of Music. Monograph Collection (Matt - Pseudo).
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  35. Philip Alperson (1986). Ernest Bloch, Essays on the Philosophy of Music Reviewed By. Philosophy in Review 6 (10):464-467.
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  36. Philip Alan Alperson (1979). The Special Status of Music. Dissertation, University of Toronto (Canada)
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  37. Philip Alperson, Nguyễn Chí Bến & To Ngoc Thanh (2007). The Sounding of the World: Aesthetic Reflections on Traditional Gong Music of Vietnam. Journal of Aesthetics and Art Criticism 65 (1):11 - 20.
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  38. Mario Andrés Alvarado Lozano (2009). Nietzsche and His Zaratrusta: A Musical Experience. Discusiones Filosóficas 10 (15):113 - 120.
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  39. M. Amaladoss (1982). Music as Sadhana+ Music as a Paradigm of Spiritual Integration. Journal of Dharma 7 (2):181-188.
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  40. M. Amaladoss (1982). Music as Sadhana. Journal of Dharma 7 (2):181-188.
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  41. Peter J. Ammann (1967). The Musical Theory and Philosophy of Robert Fludd. Journal of the Warburg and Courtauld Institutes 30:198-227.
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  42. Andrew Edwin Anderson (1995). A Phenomenology of Music Analysis. Dissertation, University of North Texas
    Many of the early writings and lectures of the German phenomenological philosopher Martin Heidegger involve investigations into the question of Being. An important part of these investigations is his examination of how we go about the everyday business of existing--doing our jobs, dealing with things in our environment, working through problems, thinking, talking--and what our ways of operating in these everyday activities tell us about our Being in general. ;Musicians have their own everyday musical tasks, two of the most prominent (...)
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  43. Warren D. Anderson (1966). Ethos and Education in Greek Music the Evidence of Poetry and Philosophy. Harvard University Press.
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  44. D. Z. Andriopoulos (2010). Philosophy and Music. Philosophical Inquiry 32 (3-4):93-108.
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  45. D. Z. Andriopoulos (2010). Philosophy and Music. Philosophical Inquiry 32 (3-4):93-108.
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  46. Roger Scruton Andy Hamilton (1999). The Aesthetics of Western Art Music. Philosophical Books 40 (3):145-159.
    Book reviewed in this article:Roger Scruton, The Aesthetics of Music.
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  47. Krum Angelov (1973). Osnovi Na Muzikalnata Estetika. Nauka I Izkustvo.
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  48. Donald Bruce Anthony (1967). A General Concept of Musical Time with Special Reference to Certain Developments in the Music of Anton Webern.
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  49. Alessandro Antonietti & Loredano Matteo Lorenzetti (1986). Processi Cognitivi in Musica. F. Angeli.
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  50. Georges Aperghis, Luciano Berio & Pierre Boulez (1997). Musiques En Création. Monograph Collection (Matt - Pseudo).
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1 — 50 / 3242