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  1. Carolyn Abbate (2004). Music—Drastic or Gnostic? Critical Inquiry 30 (3):505-536.
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  2. James Ackman (2007). Thinking Musically, And: Teaching Music Globally (Review). Philosophy of Music Education Review 15 (1):81-87.
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  3. 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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  4. 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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  5. 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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  6. 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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  7. 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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  8. 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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  9. 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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  10. 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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  11. Randall Everett Allsup (forthcoming). Activating Self-Transformation Through Improvisation in Instrumental Music Teaching. Philosophy of Music Education Review 5 (2).
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  12. 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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  13. Randall Everett Allsup (2011). Sequoias, Mavericks, Open Doors… Composing Joan Tower. Philosophy of Music Education Review 19 (1):24-36.
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  14. Aires Almeida (forthcoming). Eduard Hanslick: Do belo musical. Critica.
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  15. Byron Almén (2005). Musical “Temperament”: Theorists and the Functions of Musical Analysis. Theoria 12:46.
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  16. Philip Alperson (forthcoming). Value Monism, Value Pluralism, and Music Education: Sparshott as Fox. Journal of Aesthetic Education 31 (2).
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  17. Philip Alperson (2010). Robust Praxialism and the Anti-Aesthetic Turn. Philosophy of Music Education Review 18 (2):171-193.
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  18. 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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  19. Philip Alperson (1986). Ernest Bloch, Essays on the Philosophy of Music Reviewed By. Philosophy in Review 6 (10):464-467.
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  20. 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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  21. Mario Andrés Alvarado Lozano (2009). Nietzsche and His Zaratrusta: A Musical Experience. Discusiones Filosóficas 10 (15):113 - 120.
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  22. M. Amaladoss (1982). Music as Sadhana+ Music as a Paradigm of Spiritual Integration. Journal of Dharma 7 (2):181-188.
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  23. 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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  24. D. Z. Andriopoulos (2010). Philosophy and Music. Philosophical Inquiry 32 (3-4):93-108.
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  25. D. Z. Andriopoulos (2010). Philosophy and Music. Philosophical Inquiry 32 (3-4):93-108.
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  26. Diane Apostolos-Cappadona (forthcoming). On the Music of the Spheres: Unifying Religion and the Arts. Philosophy of Music Education Review.
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  27. Hanne Appelqvist (2013). Stephen Davies , Musical Understandings and Other Essays on the Philosophy of Music . Reviewed By. Philosophy in Review 33 (1):26-28.
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  28. L. K. B. (1957). Physics and Metaphysics of Music and Essays on the Philosophy of Mathematics. Review of Metaphysics 11 (2):352-352.
  29. 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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  30. Ros Bandt (2006). John Haines, Eight Centuries of Troubadours and Trouvères: The Changing Identity of Medieval Music. (Musical Performance and Reception.) Cambridge, Eng.: Cambridge University Press, 2004. Pp. Xii, 347; Black-and-White Figures, Tables, and Musical Examples. $85. [REVIEW] Speculum 81 (2):523-524.
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  31. Viorica Barbu Iuraşcu (2010). Examining the Role of Performance as Part of Music Education. Linguistic and Philosophical Investigations 9:317-322.
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  32. Viorica Barbu Iuraşcu (2010). The Social and Relational Aspects of Music Making. Linguistic and Philosophical Investigations 9:341-346.
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  33. Viorica Barbu Iuraşcu (2009). Music as a Rich and Complex Product of Culture. Linguistic and Philosophical Investigations 8:170-175.
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  34. Viorica Barbu-Iuraşcu (2008). Melodic Contour and the Significance of Rules of Musical Style. Linguistic and Philosophical Investigations 7.
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  35. Oscar Barragán (2013). Performance as an Achievement and as a Cultural Event. Journal of Aesthetic Education 47 (2):71-91.
    In this essay I argue that some aspects of aesthetic philosophy of music education are compatible with multicultural proposals. To show this I first distinguish between two different aspects of multicultural advocacy: one related to sociopolitical goals and one related to the inclusion of different musical traditions and practices in our music programs. These two conceptions of multiculturalism are complementary but can be distinguished for purposes of clarifying the relationship between aesthetic and multicultural assumptions about the value of multicultural music (...)
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  36. 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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  37. Christopher Bartel (2014). Musical Understandings, by Stephen Davies. Mind 123 (492):1184-1187.
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  38. Douglas Bartholomew (forthcoming). Sounds Before Symbols: What Does Phenomenology Have to Say? Philosophy of Music Education Review.
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  39. Grant Bartley (2007). Being and Time--The Musical! Philosophy Now 63:23-23.
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  40. Ismay Barwell & John Powell (2010). Gardens, Music, and Time. In Dan O'Brien (ed.), Gardening - Philosophy for Everyone: Cultivating Wisdom. Wiley-Blackwell.
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  41. Eliot Bates (2004). I Na Local Music Store, I Recently Picked Up a Copy of In Memoriam. In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge. 275.
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  42. 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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  43. Lincoln A. Baxter (1980). Recent Music: The International Fallacy Restored. Journal of Aesthetics and Art Criticism 39 (1):77-79.
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  44. Gustav Becking (2011). How Musical Rhythm Reveals Human Attitudes. Lang.
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  45. Ernst Behler (1996). Wackenroder y la Concepción Musical Del Primer Romanticismo. Anuario Filosófico 29 (54):21-40.
    Wackenroder and the musical conception of early Romanticism.- The early romantic movement brings in a new general conception of art and the artist. Within this context, music is treated as a proper and independent form of art. This paper shows how a reflection on music is to be found expressed in the texts of Wackenroder, which is later to be carried on by other thinkers.
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  46. Peter Beilharz (2007). Lobby and Me: Remembering the Melbourne Music Scene in the Sixties. Thesis Eleven 91 (1):104-106.
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  47. Ludmila Bejenaru (2006). Berdiaev About the Faustic Fate of Culture. Cultura 3 (2):42-48.
    Since the first degrees of musicality of mankind, the music became a sphere of investigation for naturalists (Darwin), economists (Karl Bücher), philosophers (Spencer, Schopenhauer, Cioran), who tried to explain, through their theories, the process of the beginning and settlement of this phenomenon as well as its influence on the human being.Schopenhauer will consider art, and especially music, as the only liberating form from delusion and suffering, from the omnipotence will to live. Making a strange parallelism between music and the will (...)
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  48. Ludmila Bejenaru (2006). The Metaphysics of Music at Schopenhauer and Cioran. Cultura 3 (1):35-40.
    Since the first degrees of musicality of mankind, the music became a sphere of investigation for naturalists (Darwin), economists (Karl Bücher), philosophers (Spencer, Schopenhauer, Cioran), who tried to explain, through their theories, the process of the beginning and settlement of this phenomenon as well as its influence on the human being.Schopenhauer will consider art, and especially music, as the only liberating form from delusion and suffering, from the omnipotence will to live. Making a strange parallelism between music and the will (...)
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  49. Münir Beken (2008). Music Theory and Phenomenology of Musical Performance. A Case Study: Five Notes in Joel-Francois Durand's Un Feu Distinct. Analecta Husserliana 96:305-310.
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  50. 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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1 — 50 / 2279