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  1. K. Agawu (2003). Contesting Difference : A Critique of Africanist Ethnomusicology. In Martin Clayton, Trevor Herbert & Richard Middleton (eds.), The Cultural Study of Music: A Critical Introduction. Routledge. 227.
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  2. Philip Alperson (1980). Musical Time" and Music as an "Art of Time. Journal of Aesthetics and Art Criticism 38 (4):407-417.
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  3. Philip Alperson & Noël Carroll (2008). Music, Mind, and Morality: Arousing the Body Politic. Journal of Aesthetic Education 42 (1):1-15.
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  4. Philip Alperson, B. E. N. Chí & 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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  5. Nora M. Alter & Lutz P. Koepnick (eds.) (2004). Sound Matters: Essays on the Acoustics of Modern German Culture. Berghahn Books.
    ... composed by Herms Niel as a Durchhaltefanfare, a fanfare of perseverance, for the German troops that had been surrounded on the Crimea peninsula by ...
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  6. Godfrey Baldacchino (ed.) (2011). Island Songs: A Global Repertoire. Scarecrow Press.
    "Through the close analysis of musical performance and tradition, the scholarly contributiors to Island Songs provide a global review of how island songs, their lyrics, and their singers engage with the challenges of modernity, migration , ...
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  7. Sam Barrett (2008). Reflections on Music Writing : Coming to Terms with Gain and Loss in Early Medieval Latin Song. In Andreas Haug & Andreas Dorschel (eds.), Vom Preis des Fortschritts: Gewinn Und Verlust in der Musikgeschichte. Universal Edition.
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  8. Joachim Ernst Berendt (1987). Nada Brahma: The World is Sound: Music and the Landscape of Consciousness. Distributed by Harper & Row.
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  9. Anoop Chandola (1988). Music as Speech: An Ethnomusicolinguistic Study of India. Navrang.
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  10. David Clarke & Tara Kini (2011). North Indian Classical Music and its Links with Consciousness: The Case of Dhrupad. In David Clarke & Eric F. Clarke (eds.), Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. Oxford University Press.
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  11. David Roden (2010). Sonic Art and the Nature of Sonic Events. Review of Philosophy and Psychology 1 (1):141-156.
    Musicians and theorists such as the radiophonic pioneer Pierre Schaeffer, view the products of new audio technologies as devices whereby the experience of sound can be displaced from its causal origins and achieve new musical or poetic resonances. Accordingly, the listening experience associated with sonic art within this perspective is ‘acousmatic’; the process of sound generation playing no role in the description or understanding of the experience as such. In this paper I shall articulate and defend a position according to (...)
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  12. Nicholas Wilson (2007). Applying Critical Realism : Re-Conceptualising the Emergent Early Music Performer Labour Market. In Clive Lawson, John Latsis & Nuno Martins (eds.), Contributions to Social Ontology. Routledge. 15--304.
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