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Peter Kivy [104]P. Kivy [5]Hagit Kivy [2]Peter Nathan Kivy [1]
  1. Peter Kivy (2002). Introduction to a Philosophy of Music. Clarendon Press.
    Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the center of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction to some fascinating questions and ideas.
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  2.  35
    Peter Kivy (1990). Music Alone: Philosophical Reflections on the Purely Musical Experience. Cornell University Press.
    In the Essai sur Vorigine des langues (), Jean-Jacques Rousseau reports on an eighteenth-century curiosity that has, from time to time, fascinated musicians ...
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  3. Peter Kivy (1967). Hume's Standard of Taste: Breaking the Circle. British Journal of Aesthetics 7 (1):57-66.
  4.  1
    Peter Kivy (2011). Antithetical Arts: On the Ancient Quarrel Between Literature and Music. OUP Oxford.
    Peter Kivy presents a fascinating critical examination of the two rival ways of understanding instrumental music. He argues against 'literary' interpretation in terms of representational or narrative content, and defends musical formalism. Along the way he discusses interpretations of a range of works in the canon of absolute music.
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  5.  18
    Peter Kivy (2003). The Seventh Sense: Francis Hutcheson and Eighteenth-Century British Aesthetics. Oxford University Press.
    Now reissued with substantial new material, The Seventh Sense is the definitive study of the aesthetic theory of the great eighteenth-century philosopher Frances Hutcheson, and its huge influence on British aesthetics. Peter Kivy's book is a seminal work on early modern aesthetics, and has been much in demand since going out of print some years ago; this new edition brings the book up to date with the addition of eight essays that Kivy has written on the subject since 1976.
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  6.  22
    Peter Kivy (1993). The Fine Art of Repetition: Essays in the Philosophy of Music. Cambridge University Press.
    Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects (...)
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  7. Peter Kivy (1999). Feeling the Musical Emotions. British Journal of Aesthetics 39 (1):1-13.
  8.  9
    peter kivy (2007). Moodophilia: A Response to Noël Carroll and Margaret Moore. Journal of Aesthetics and Art Criticism 65 (3):323–329.
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  9.  1
    Peter Kivy (2008). The Performance of Reading: An Essay in the Philosophy of Literature. Wiley-Blackwell.
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  10.  8
    Peter Kivy (1983). Platonism in Music. Grazer Philosophische Studien 19:109-129.
    Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...)
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  11.  48
    Peter Kivy (1987). Platonism in Music: Another Kind of Defense. American Philosophical Quarterly 24 (3):245 - 252.
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  12.  41
    Peter Kivy (2006). Ars Perfecta: Toward Perfection in Musical Performance? British Journal of Aesthetics 46 (2):111-132.
    Is there such a thing as the perfect performance of a musical work? It is the thesis of this paper that there is not. The thesis is advanced as the implication or concomitant of an already developed view of musical performance in the Western tradition, outlined in my book, Authenticities (1995).
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  13.  39
    Peter Kivy (2006). Critical Study: Deeper Than Emotion. British Journal of Aesthetics 46 (3):287-311.
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  14.  39
    Peter Kivy (1995). Authenticities: Philosophical Reflections on Musical Performance. Cornell University Press.
    "In his latest book on the aesthetics of music, Peter Kivy presents an argument not for authenticity but for authenticities of performance, including ...
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  15.  28
    Peter Kivy (2006). Mood and Music: Some Reflections for Noël Carroll. Journal of Aesthetics and Art Criticism 64 (2):271–281.
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  16.  62
    Peter Kivy (1993). Auditor's Emotions: Contention, Concession and Compromise. Journal of Aesthetics and Art Criticism 51 (1):1-12.
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  17.  91
    Peter Kivy (1995). Stephen Davies: Musical Meaning and Expression. Mind 104 (416):896-900.
  18.  37
    Peter Kivy (2003). Jokes Are a Laughing Matter. Journal of Aesthetics and Art Criticism 61 (1):5-15.
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  19.  67
    Peter Kivy (1989). Sound Sentiment: An Essay on the Musical Emotions, Including the Complete Text of the Corded Shell. Temple University Press.
    Incorporating the complete, corrected text of The Corded Shell, Kivy brings his earlier arguments up to date in light of recent work in the field, and discusses ...
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  20.  28
    Peter Kivy (2001). New Essays on Musical Understanding. Clarendon.
    Peter Kivy presents a selection of his new and recent writings on the philosophy of music--an area to which he has been one of the most eminent contributors. In his distinctively elegant and informal style, Kivy explores such topics as musicology and its history, the nature of musical works, and the role of emotion in music, and does so in a way that will attract the interest of philosophical and musical readers alike. Most works are published here for the first (...)
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  21.  16
    Peter Kivy (1993). Differences. Journal of Aesthetics and Art Criticism 51 (2):123-132.
  22.  57
    Peter Kivy (1975). What Makes "Aesthetic" Terms Aesthetic? Philosophy and Phenomenological Research 36 (2):197-211.
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  23.  76
    Peter Kivy (1979). Aesthetic Concepts: Some Fresh Considerations. Journal of Aesthetics and Art Criticism 37 (4):423-432.
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  24.  75
    Peter Kivy (1968). Aesthetic Aspects and Aesthetic Qualities. Journal of Philosophy 65 (4):85-93.
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  25.  14
    Peter Kivy (1991). Science and Aesthetic Appreciation. Midwest Studies in Philosophy 16 (1):180-195.
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  26.  14
    Roger Scruton, Peter Kivy, Jerrold Levinson, Malcolm Budd, Diana Raffman & Lydia Goehr (1994). Recent Books in the Philopshy of MusicMusic Alone: Philosophical Reflections on the Purely Musical Experience.Sound and Semblance: Reflections on Musical Representation.The Fine Art of Repetition: Essays in the Philosophy of Music.Music, Art and Metaphysics: Essays in Philosophical Aesthetics.Music and the Emotions: The Philosophical Theories.Language, Music and Mind.The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. [REVIEW] Philosophical Quarterly 44 (177):503.
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  27.  19
    Peter Kivy (2000). How to Forge a Musical Work. Journal of Aesthetics and Art Criticism 58 (3):233-235.
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  28.  58
    Peter Kivy (1995). The "Sense" of Beauty and the Sense of "Art": Hutcheson's Place in the History and Practice of Aesthetics. Journal of Aesthetics and Art Criticism 53 (4):349-357.
  29.  14
    Peter Kivy (1997). Philosophies of Arts: An Essay in Differences. Cambridge University Press.
    Since the beginning of the eighteenth century the philosophy of art has been engaged on the project of trying to find out what the fine arts have in common and, thus, how they might be defined. Peter Kivy's purpose in this accessible and lucid book is to trace the history of that enterprise and argue that the definitional project has been unsuccessful. He offers a fruitful change of strategy: instead of engaging in an obsessive quest for sameness, let us explore (...)
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  30.  54
    Peter Kivy (1991). Is Music an Art? Journal of Philosophy 88 (10):544-554.
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  31.  28
    Peter Kivy (1983). Hume's Neighbour's Wife: An Essay on the Evolution of Hume's Aesthetics. British Journal of Aesthetics 23 (3):195-208.
  32.  0
    Peter Kivy (1991). Sound Sentiment: An Essay on the Musical Emotions. Journal of Aesthetics and Art Criticism 49 (1):83-85.
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  33.  13
    Peter Kivy (2009). Musical morality. Revue Internationale de Philosophie 4:397-412.
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  34.  42
    Peter Kivy (2009). Fictional Form and Symphonic Structure: An Essay in Comparative Aesthetics. Ratio 22 (4):421-438.
    It is agreed on all hands that both fictional narratives and the familiar genres of classical music possess an inner structure that both can be perceived and be appreciated aesthetically. It is my argument here that this inner structure plays a crucially different role in fictional narrative than it does in classical music, confining myself here to 'absolute music' (which is to say, pure instrumental music without text, programme, dramatic setting, or other 'extra-musical' content). The argument, basically, is that whereas (...)
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  35.  1
    Peter Kivy (1990). Osmin's Rage: Philosophical Reflections on Opera, Drama, and Text. Journal of Aesthetics and Art Criticism 48 (2):165-167.
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  36.  21
    Peter Kivy (1979). Voltaire, Hume, and the Problem of Evil. Philosophy and Literature 3 (2):211-224.
  37.  26
    Peter Kivy (2011). Remarks on the Varieties of Prejudice in Hume's Essay on Taste. Journal of Scottish Philosophy 9 (1):111-114.
    The last of Hume's five requirements of the ‘‘true judge in the finer arts’’, is that he be ‘‘cleared of all prejudice……'. I argue here that, lurking in this innocuous-sounding requirement of the true judge, is a complexity that reveals a significant tension in Hume's argument. It is that tension that I want briefly to explore.
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  38.  20
    P. Kivy (2012). What Really Happened in the Eighteenth Century: The 'Modern System' Re-Examined (Again). British Journal of Aesthetics 52 (1):61-74.
    There is much in James I. Porter's recent critique of Kristeller's ‘Modern System of the Arts’ that is true and enlightening. But something— some things —of great moment in the history of aesthetics and philosophy of art transpired in the age of the Enlightenment, as badly described, and, no doubt, in some ways as badly misdescribed, as they may have been by Kristeller in his account. And it would be a grave disservice to the history of philosophy to reject the (...)
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  39.  6
    Peter Kivy (1978). Thomas Reid and the Expression Theory of Art. The Monist 61 (2):167-183.
    I mean by "the expression theory of art" the theory which holds that the expression of emotion is the essential property of art. I mean by "a theory of artistic expression" any theory which gives an account of how works of art express emotions. My argument is that thomas reid, In contrast to his contemporaries and immediate predecessors, Came very close to holding not merely a theory of artistic expression but the expression theory of art.
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  40.  32
    Peter Kivy (2007). The Perception of Beauty in Hutcheson's First Inquiry: A Response To James Shelley. British Journal of Aesthetics 47 (4):416-431.
    James Shelley argues that the perception of beauty, as Hutcheson characterizes it, in the first of the two treatises that comprise the Inquiry into the Original of our Ideas of Beauty and Virtue, that is, the Inquiry Concerning Beauty, Order, Harmony, Design, is not what I called in The Seventh Sense, ‘non-epistemic’ perception but, rather, ‘epistemic’ perception through and through. Having studied Shelley's arguments with care, and consulted the relevant primary sources yet again, I am still convinced that (...)
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  41.  28
    Peter Kivy (1980). A Failure of Aesthetic Emotivism. Philosophical Studies 38 (4):351 - 365.
  42.  26
    Peter Kivy (2002). On the Historically Informed Performance. British Journal of Aesthetics 42 (2):128-144.
    After the publication of my book Authenticities in 1995 I began toreceive criticisms of it based on the growing currency of the phrase ‘the historically informed performance’, which was supposed to be describing a kind of musical performance that differed significantly from the kind that had been known previously as the ‘historically authentic performance’ and which had been the object of my critique in the book. The argument was that the historically informed performance was different enough from the historically authentic (...)
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  43.  12
    Peter Kivy (1988). On the Concept of the “Historically Authentic” Performance. The Monist 71 (2):278-290.
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  44.  0
    Peter Kivy (1973). Speaking of Art. The Hague,Nijhoff.
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  45.  25
    Peter Kivy (1988). Something I've Always Wanted to Know About Hanslick. Journal of Aesthetics and Art Criticism 46 (3):413-417.
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  46.  9
    Peter Kivy (1986). The Test of Time. International Studies in Philosophy 18 (3):88-90.
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  47.  15
    Peter Kivy (2011). Paraphrasing Poetry (for Profit and Pleasure). Journal of Aesthetics and Art Criticism 69 (4):367-377.
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  48.  24
    Peter Kivy (2009). The Other Shoe: Some Thoughts for Christopher Peacocke. British Journal of Aesthetics 49 (3):283-287.
    I suggest in this paper that Professor Peacocke has given an elegant and, it seems to me, successful account of how we hear in music, metaphorically, various extra-musical properties, among them the much vexed expressive ones. I argue that what Peacocke now must do, as the next step in his project, is to tackle the normative question of when, particularly in the case of absolute music, we are justified in hearing in the music what, on his account, we can hear (...)
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  49.  23
    Peter Kivy (2003). Another Go at Musical Profundity: Stephen Davies and the Game of Chess. British Journal of Aesthetics 43 (4):401-411.
    I have argued previously that the art of absolute music, unlike, for example, the art of literature, is not capable of profundity, which I characterized as treating a profound subject matter, at the highest artistic level, in a manner appropriate to its profundity. Stephen Davies has recently argued that there is another way of being profound, which he calls non-propositional profundity, and for which chess provides his principal example. He argues, further, that absolute music also exhibits this non-propositional profundity. I (...)
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  50.  5
    Peter Kivy (2010). Filosofia da música. Critica.
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