The theory of unconscious perception in music: A phenomenological criticism
Journal of Aesthetics and Art Criticism 25 (4):395-400 (1967)
| Abstract | This article has no associated abstract. (fix it) | |||||||||
| Keywords | No keywords specified (fix it) | |||||||||
| Categories | ||||||||||
| Options |
|
|||||||||
Download options| PhilPapers Archive |
Upload a copy of this paper Check publisher's policy on self-archival Papers currently archived: 5,664 |
| External links |
 |
| Through your library | Configure |
Similar books and articlesR. Sathyanarayana (2006). Music Criticism: Principles and Practice (with Special Reference to Karnataka Music): A Comprehensive and Critical Study. Vidwan R.K. Srikantan Trust.
Rita Steblin (2002). A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries. University of Rochester Press.
F. David Martin (1967). The Power of Music and Whitehead's Theory of Perception. Journal of Aesthetics and Art Criticism 25 (3):313-322.
Leo Treitler (1989). Music and the Historical Imagination. Harvard University Press.
Iannis Xenakis (1971). Formalized Music. Bloomington,Indiana University Press.
Alfred Pike (1963). Perception and Meaning in Serial Music. Journal of Aesthetics and Art Criticism 22 (1):55-61.
Michael Snodgrass (2002). Disambiguating Conscious and Unconscious Influences: Do Exclusion Paradigms Demonstrate Unconscious Perception? American Journal of Psychology 115 (4):545-579.
Analytics
Monthly downloads |
Added to index2009-01-28Total downloads14 ( #83,035 of 549,013 )Recent downloads (6 months)0How can I increase my downloads? |
My notes
Discussion
