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  1. T. W. Adorno (1941). On Popular Music. Studies in Philosophy and Social Science 9:17.
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  2. Philip Alperson (1998). Improvisation: An Overview. In Michael Kelly (ed.), Encyclopedia of Aesthetics. Oxford University Press. 2--478.
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  3. Santiago Auserâon (1998). La Imagen Sonora Notas Para Una Lectura Filos'ofica de la Nueva M'usica Popular.
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  4. Frank J. Barrett (2000). Cultivating an Aesthetic of Unfolding: Jazz Improvisation as a Self-Organizing System. In Stephen Linstead & Heather Höpfl (eds.), The Aesthetics of Organization. Sage Publications. 228--45.
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  5. Bruce Ellis Benson (2006). The Fundamental Heteronomy of Jazz Improvisation. Revue Internationale de Philosophie 4:453-467.
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  6. Bruce Ellis Benson (2005). Jazz: l'Autre exotique. Horizons Philosophiques 16 (1):86-100.
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  7. Harris M. Berger (1999). Metal, Rock, and Jazz Perception and the Phenomenology of Musical Experience.
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  8. Christian Béthune (2010). De L’Improvisation. Nouvelle Revue d'Esthétique 5.
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  9. Jody Blake (1992). Le Tumulte Noir Modernist Art and Popular Entertainment in Jazz-Age Paris, 1900-1930.
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  10. Chairperson Zdravko Blažekovíc & Mel van Elteren (2008). Dutch Youth and Rock Music in the Fin de Siècle Era. The European Legacy 2 (1):133-142.
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  11. Zdravko Blažekovíc & Mel van Elteren (1997). Dutch Youth and Rock Music in the Fin de Siècle Era. The European Legacy 2 (1):133-142.
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  12. Anthony Braxton (1985). Tri-Axium Writings. Synthesis Music.
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  13. L. B. Brown (2011). Improvisation. In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. Routledge. 59--69.
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  14. Franklin Bruno (2013). A Case for Song: Against an (Exclusively) Recording-Centered Ontology of Rock. Journal of Aesthetics and Art Criticism 71 (1):65-74.
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  15. Lori Burns & Mélisse Lafrance (2002). Disruptive Divas Feminism, Identity & Popular Music.
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  16. David L. Burrows (1990). Sound, Speech, and Music. Monograph Collection (Matt - Pseudo).
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  17. Yves Citton (2004). L'utopie Jazz entre gratuité et liberté. Multitudes 2 (2):131-144.
    This article explores the intersection between freedom-liberty and freedom-gratuity in the practices filed under the heading «free jazz ». In light of the exemplary trajectory of Ken Vandermark, it analyses the space of freedom opened up by US college radios for the dissemination of improvised music. It then sketches the socio-political model implicitly projected by this unique form of interactive invention taking place within the collective of a jazz band, an interactive invention which dissolves the very notion of authorship. Rejecting (...)
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  18. Vincent Colapietro (2012). Jazz as Metaphor, Philosophy as Jazz. In Cornelis De Waal & Krzysztof Piotr Skowroński (eds.), The Normative Thought of Charles S. Peirce. Fordham University Press. 1.
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  19. Francisco Sasseti da Mota (2012). "Is the Moral Criticism of Popular Songs Appropriate at All?": Remarks on Popular Music, Aristotle and MacIntyre. Revista Portuguesa de Filosofia 68 (1):295-312.
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  20. Misa Djurkovic (2004). Ideological and Political Conflicts About Popular Music in Serbia. Filozofija I Društvo 25:271-284.
    The paper is focused on ideological and political conflicts about popular music in Serbia, as a good example of wrong and confused searching for identity. Basic conflict that author is analyzing is about oriental elements and the question if they are legitimate parts of Serbian musical heritage or not. Author is making an analysis of three periods in twentieth century, in which absolutely the same arguments were used, and he's paying special attention to contemporary conflicts, trying to explain why all (...)
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  21. Julian Dodd (2014). Upholding Standards: A Realist Ontology of Standard Form Jazz. Journal of Aesthetics and Art Criticism 72 (3):277-290.
    In “All Play and No Work,” Andrew Kania claims that standard form jazz involves no works, only performances. This article responds to Kania by defending one of the alternative ontological proposals that he rejects, namely, that jazz works are ontologically continuous with works of classical music. I call this alternative “the standard view,” and I argue that it is the default position in the ontology of standard form jazz. Kania has three objections to the standard view. The bulk of the (...)
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  22. Alexis Dubourdieu & Jane Ward (2012). Developing Awareness of Cultural Music and its Role in Society with Sound Infusion. Ethos: Journal of the Society for Psychological Anthropology 20 (2):8.
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  23. Simon Frith (1998). Performing Rites: Evaluating Popular Music. Oup Oxford.
    Who's better? Billie Holiday or P. J. Harvey? Blur or Oasis? Dylan or Keats? And how many friendships have ridden on the answer? Such questions aren't merely the stuff of fanzines and idle talk; they inform our most passionate arguments, distil our most deeply held values, make meaning of our ever-changing culture. In Performing Rites, one of the most influential writers on popular music asks what we talk about when we talk about music. What's good, what's bad? What's high, what's (...)
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  24. Simon Frith (1996). Performing Rites on the Value of Popular Music. Monograph Collection (Matt - Pseudo).
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  25. A. Fulara (2013). The Model of Counterpoint Improvisation and the Methods of Improvisation in Popular Music. Avant: Trends in Interdisciplinary Studies 4 (1):417-545.
    The article consists of two parts. The first, more general, contains a description of the phenomena associated with improvisation, especially guitar, detailing the execution issues facing the improviser. Two points of view are presented: the first, more detailed, describes the elements of music and its importance in the process of improvisation, the second - more general - speaks of phenomena which cannot be described or analyzed in a simple way, or that are different for each track. These include the interaction (...)
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  26. Waldo Garrido & Philip Hayward (2011). Chiloé : An Offshore Song Culture. In Godfrey Baldacchino (ed.), Island Songs: A Global Repertoire. Scarecrow Press.
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  27. John C. Gilmour (2000). Improvisation in Cézanne's Late Landscapes. Journal of Aesthetics and Art Criticism 58 (2):191-204.
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  28. Ted Gioia (1988). The Imperfect Art Reflections on Jazz and Modern Culture. Monograph Collection (Matt - Pseudo).
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  29. Theodore Gracyk (2013). On Music. Routledge.
    Opinionated and example-filled, this extremely concise and accessible book provides a survey of some fundamental and longstanding debates about the nature of music. The central arguments and ideas of historical and contemporary philosophers are presented with the goal of making them as accessible as possible to general readers who have no background in philosophy. The emphasis is on instrumental music, but examples are drawn from many cultures as well as from Western classical, jazz, folk, and popular music.
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  30. Theodore Gracyk (1999). Valuing and Evaluating Popular Music. Journal of Aesthetics and Art Criticism 57 (2):205-220.
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  31. Christina Susan Grant (2003). Getting It Together Relational Learning in a Jazz-Performance Context.
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  32. Garry Hagberg (2006). Jazz Improvisation : A Mimetic Art ? Revue Internationale de Philosophie 4:469-485.
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  33. Garry Hagberg (2000). Foreword: Improvisation in the Arts. Journal of Aesthetics and Art Criticism 58 (2):95-97.
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  34. Garry Hagberg (1998). Improvisation: Jazz Improvisation. In Michael Kelly (ed.), Encyclopedia of Aesthetics. Oxford University Press. 1--479.
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  35. William J. Harris (1985). The Poetry and Poetics of Amiri Baraka the Jazz Aesthetic. Monograph Collection (Matt - Pseudo).
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  36. Frank Howes (1962). A Critique of Folk, Popular and ‘Art’ Music. British Journal of Aesthetics 2 (3):239-248.
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  37. David E. Isaacs (2010). We Have No Trouble Here' : Considering Nazi Motifs in The Sound of Music and Cabaret. In Nancy Billias (ed.), Promoting and Producing Evil. Rodopi. 63--179.
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  38. Werner Jauk (2009). Pop/Music + Medien/Kunst: Der Musikalisierte Alltag der Digital Culture. Electronic Publishing.
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  39. Gregory Karl & Jenefer Robinson (2015). Yet Again, ‘Between Absolute and Programme Music. British Journal of Aesthetics 55 (1):19-37.
    In this paper, we contest Peter Kivy’s claim that there is a clear opposition between ‘absolute music’ and programme music and between musical form and musical expressiveness. We argue, on the contrary, that much music falls somewhere between absolute and programme music as Kivy conceives the categories, and that such music is often primarily organized not on purely formal principles but by means of the overall ‘expressive trajectory’ or ‘poetic idea’ of the piece. Kivy is dismissive of all ‘narrativist’ interpretations (...)
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  40. R. Kaur & P. Banerjea (2000). Jazzgeist: Racial Signs of Twisted Times. Theory, Culture and Society 17 (3):159-180.
    This article investigates the changing currency of racial politics in jazz music formations, with a comparative focus on Nazi and contemporary Germany. While it is noted that music articulates politics in an oblique or metonymic way, in highly-charged contexts music is lent further propositional capacity. This is highlighted in Nazi Germany where jazz music was seen as barbaric, `dark' and uncivilized, and classical music represented order and cultural supremacy. These dynamics continue but, often, in a slightly askew form for contemporary (...)
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  41. Ute Klein & Goeman Gerd Hesse (1968). Schlager Im Kreuzverhör Schlager Als Spiegel des Zeitgeistes Und Die Analyse Ihrer Texte von Ute Klein Ùnd Gerd H. Goeman. Dipa-Verlag.
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  42. Thomas Kocherhans (2012). Improvisation as Liberation: Endeavours of Resistance in Free Jazz. Cuadernos de Filosofía Latinoamericana 33 (106):39-52.
    This investigation seeks to explore connection points between music and societal processes, by linking improvised music to cultural networks and social practices. Exceeding musicological and action-theoretical reflections, the improvisation is regarded from a cultural sociological perspective, which asks how improvisational practices can be integrated into cultural, historical and discursive contexts. Taking free jazz as the scope of the investigation, it is argued that there is a necessity to discuss its characteristic improvisation, in connection to the critical, radical and aesthetical practices (...)
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  43. David F. Kopplin (1999). I. Aspects of Time in the Music of Henryk Gorecki: The Sacred and the Profane. Ii. Concerto for Double Bass. Dissertation, University of California, Los Angeles
    Volume I of this dissertation concerns the work of Polish composer Henryk Gorecki. He began his career as a serial composer and by the time of the premiere of his Scontri in 1961, was considered to be one of the best and brightest of the new generation of "modernist" composers. In the early 1970s, however, he turned away from the serialist techniques and modernist model toward a completely new approach---a distinct new compositional direction. Music writers and musicologists have since grouped (...)
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  44. Angela M. Leonard (1997). Exploratory Notes on the 'Wonders' of Jazz. Semiotics:181-191.
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  45. Angela M. Leonard (1997). Exploratory Notes on the 'Wonders' of Jazz. Semiotics:181-191.
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  46. Jerrold Levinson (2013). Jazz Vocal Interpretation: A Philosophical Analysis. Journal of Aesthetics and Art Criticism 71 (1):35-43.
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  47. George Lipsitz (1994). Dangerous Crossroads Popular Music, Postmodernism and the Poetics of Place.
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  48. John Mizzoni (2006). Teaching Moral Philosophy with Popular Music. Teaching Ethics 6 (2):15-28.
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  49. Perloff Nancy (2002). The Right to Be Myself, as Long as I Live! As If I Were a Sound.": Postmodernism and the Music of John Cage”. In Johannes Willem Bertens & Joseph P. Natoli (eds.), Postmodernism: The Key Figures. Blackwell Publishers.
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  50. Kyoko Okubo (2005). Henri Matisse's Jazz: Regarding the Date of "Completion"of the Original Maquettes. Bigaku 55 (4):42-55.
    The date of "completion" of the original maquettes of Jazz has been considered to be 1944, mainly due to three letters of Matisse, in spite of the date, juillet 1946, written in the maquettes. What is the meaning of this delay? The connection between Matisse and Surréalisme contributed in establishing the artistic environment around him from the 1930's. It changed Matisse's artistic view from static to dynamic, especially the concept of signe. Furthermore, the method of paper cut-out accelerated this tendency. (...)
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