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  1. Lydia Goehr (1993). Editorial. Journal of Aesthetics and Art Criticism 51 (2).
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  2.  58
    Lydia Goehr (1992). The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford University Press.
    What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. Out of the historical thesis, Goehr draws philosophical conclusions about the (...)
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  3.  2
    Lydia Goehr & Daniel Herwitz (eds.) (2006). The Don Giovanni Moment: Essays on the Legacy of an Opera. Columbia University Press.
    The Don Giovanni Moment is the first book to examine the aesthetic and moral legacy of Mozart's masterpiece in the literature, philosophy, and culture of the nineteenth century.
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  4.  72
    Lydia Goehr (1994). Political Music and the Politics of Music. Journal of Aesthetics and Art Criticism 52 (1):99-112.
  5. Lydia Goehr (2009). Normativity Without Norms. European Journal of Philosophy 17 (4):597-607.
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  6.  4
    Lydia Goehr (2002). The Quest for Voice: Music, Politics, and the Limits of Philosophy. OUP Oxford.
    Concentrating on the music, politics, and philosophy of Richard Wagner, Lydia Goehr addresses some fundamental questions of German Romanticism: Is all music musical? Is music made less musical by the presence of words? What is musical autonomy? How do composers avoid censorship? How are composers affected by exile? Can music articulate a 'politics for the future'? What is the relation between music and philosophy?
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  7. Lydia Goehr (1993). Music has No Meaning to Speak Of: On the Politics of Musical Interpretation. In Michael Krausz (ed.), The Interpretation of Music: Philosophical Essays. Oxford University Press 177--190.
     
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  8. Lydia Goehr (2007). The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford University Press Usa.
    What is involved in the composition, performance, and reception of classical music? What are we doing when we listen to this music seriously? Why when playing a Beethoven sonata do performers begin with the first note indicated in the score; why don't they feel free to improvise around the sonata's central theme? Why, finally, does it go against tradition for an audience at a concert of classical music to tap its feet? Bound up in these questions is the overriding question (...)
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  9.  36
    Lydia Goehr (2007). Afterwords: An Introduction to Arthur Danto's Philosophies of History and Art. History and Theory 46 (1):1–28.
    This essay is written as an introductory essay to celebrate the third edition of Arthur Danto’s Analytical Philosophy of History, first printed in 1965. It raises questions about what it means to write an introduction given Danto’s own philosophical theses on history. What does it mean to write before a book but after the fact? The essay also pays special attention to the connections between Danto’s philosophy of history, philosophy of art, and the other areas of his philosophy that he (...)
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  10. Lydia Goehr (2008). From Opera to Music Drama : Nominal Loss, Titular Gains. In Andreas Haug & Andreas Dorschel (eds.), Vom Preis des Fortschritts: Gewinn Und Verlust in der Musikgeschichte. Universal Edition
     
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  11.  19
    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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  12.  50
    Lydia Goehr (1989). Being True to the Work. Journal of Aesthetics and Art Criticism 47 (1):55-67.
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  13.  13
    Lydia Goehr (1992). Writing Music History. History and Theory 31 (2):182-199.
    Influenced by methodological trends in contemporary cultural history, recent writings in music history now share a common and very basic concern: to reconcile the desire to treat musical works as purely musical entities with value and significance of their own with the desire to account for the fact that such works are conditioned by the historical, social, and psychological contexts in which they are produced. This essay places these modern reconciliations within a broader discussion of the uneasy relations that hold (...)
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  14.  32
    Lydia Goehr (2009). Philosophy Without Art. New Nietzsche Studies 8 (1-2):34-57.
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  15. Lydia Goehr (2004). Dissonant Works and the Listening Public. In Tom Huhn (ed.), The Cambridge Companion to Adorno. Cambridge University Press 222--47.
     
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  16. Lydia Goehr (2005). Understanding the Engaged Philosopher: On Politics, Philosophy, and Art. In Taylor Carman & Mark B. N. Hansen (eds.), The Cambridge Companion to Merleau-Ponty. Cambridge University Press 318--51.
     
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  17.  19
    Lydia Goehr (2011). Sporting Sounds: Relationships Between Sport and Music Edited by Bateman, Anthony and John Bale. Journal of Aesthetics and Art Criticism 69 (2):233-235.
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  18.  24
    Lydia Goehr (1990). Modernity: A World Without Eyebrows. [REVIEW] Human Studies 13 (2):173-185.
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  19. Lydia Goehr (1996). Schopenhauer and the Musicians: An Inquiry Into the Sounds of Silence and the Limits of Philosophizing About Music. In Dale Jacquette (ed.), Schopenhauer, Philosophy, and the Arts. Cambridge University Press 200--228.
     
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  20.  10
    Lydia Goehr (1987). On the Musically Beautiful: A Contribution Towards the Revision of the Aesthetics of Music. Teaching Philosophy 10 (3):271-273.
  21.  21
    Lydia Goehr (1993). The Institutionalization of a Discipline: A Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics, 1939-1992. Journal of Aesthetics and Art Criticism 51 (2):99-121.
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  22.  11
    Lydia Goehr (1989). Reflections on the Imitation of Greek Works in Painting and Sculpture. Teaching Philosophy 12 (3):329-332.
  23.  4
    Lydia Goehr (2010). Die Macht des Bösen. Deutsche Zeitschrift für Philosophie 58 (5):811-815.
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  24.  13
    Lydia Goehr (1990). Book Reviews. [REVIEW] British Journal of Aesthetics 30 (2):190-192.
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  25.  3
    Lydia Goehr (2003). Art and Politics. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press 471.
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  26.  2
    Lydia Goehr (2015). The Routledge Companion to Music and Visual Culture. British Journal of Aesthetics 55 (1):117-119.
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  27. Arthur C. Danto, Lydia Goehr & Frank Ankersmit (2007). Narration and Knowledge. Cup.
    Now in its third edition, _Narration and Knowledge_ is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events and discusses why such sentences cannot be understood until the later event happens. Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and humanist (...)
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  28. Lydia Goehr (2003). Abgebrühte desiliusionier theit:» Mahagonny «als die letzte kulinarische oper. Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 48 (2):251-272.
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  29. Lydia Goehr (2009). Agon und Hybris in Politik und Kunst. In Fathi Triki, Jacques Poulain & Christoph Wulf (eds.), Erziehung Und Demokratie: Europäische, Muslimisch Und Arabische Länder Im Dialog. Akademie Verlag 99-116.
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  30. Lydia Goehr (1997). Die Meistersinger: Wagners voorbeeldige les. Nexus 19.
    Verschillende personnages uit de Meistersinger worden getoetst aan wat Goehr de "esthetiek der ontkenning" noemt, waarbij ook de interpretatie van verschillende musicologen wordt behandeld.
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  31.  64
    Lydia Goehr (2008). Elective Affinities: Musical Essays on the History of Aesthetic Theory. Columbia University Press.
    In this new book, Lydia Goehr focuses on the history of elective affinities between philosophy and music from German classicism, romanticism, and idealism to ...
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  32.  1
    Lydia Goehr (2011). Elective Affinities: Musical Essays on the History of Aesthetic Theory. Cup.
    As illustrated in Goethe's famous novel of the same name, elective affinities are powerful relationships that crystallize under changing conditions. In this new book, Lydia Goehr focuses on the history of elective affinities between philosophy and music from German classicism, romanticism, and idealism to the modernist aesthetic theory of Theodor W. Adorno and Arthur C. Danto. Aesthetic theory, she argues, depends on a dynamic philosophy of history centered on tendencies, yearnings, needs, and potentialities. With this in mind, she recasts the (...)
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  33. Lydia Goehr (1990). "Music on Deaf Ears: Musical Meaning, Ideology, Education": Lucy Green. [REVIEW] British Journal of Aesthetics 30 (2):190.
     
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  34. Lydia Goehr (1990). Peter Kivy, Osmin's Rage: Philosophical Reflections on Opera, Drama, and Text Reviewed By. Philosophy in Review 10 (1):31-34.
     
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  35. Lydia Goehr (1990). Review: Modernity: A World Without Eyebrows. [REVIEW] Human Studies 13 (2):173 - 185.
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  36. Lydia Goehr (2007). Three Blind Mice. Goodman, McLuhan und Adorno über die Kunst der Musik und des Hörens im Zeitalter der globalen Transmission. In Fathi Triki, Jacques Poulain & Christoph Wulf (eds.), Die Künste Im Dialog der Kulturen: Europa Und Seine Muslimischen Nachbarn. Akademie Verlag 220-244.
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  37.  2
    Lydia Goehr & Daniel Herwitz (eds.) (2008). The Don Giovanni Moment: Essays on the Legacy of an Opera. Cup.
    Mozart's _Don Giovanni_ is an operatic masterpiece full of iconic and mythical tensions that still resonate today. The work redefines the terms of power, seduction, and morality, and the resulting conflict between the aesthetic and the ethical is deeply rooted in the Enlightenment and romanticism. _The_ Don Giovanni _Moment_ is the first book to examine the aesthetic and moral legacy of Mozart's opera in the literature, philosophy, and culture of the nineteenth century. The prominent scholars in this collection address the (...)
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  38.  65
    Lydia Goehr (1998/2002). The Quest for Voice: On Music, Politics, and the Limits of Philosophy: The 1997 Ernest Bloch Lectures. Oxford University Press.
    Concentrating on the music, politics, and philosophy of Richard Wagner, Lydia Goehr addresses some fundamental questions of German Romanticism: Is all music musical? Is music made less musical by the presence of words? What is musical autonomy? How do composers avoid censorship? How are composers affected by exile? Can music articulate a 'politics for the future'? What is the relation between music and philosophy?
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  39. Lydia Goehr (1998). The Quest for Voice: Music, Politics, and the Limits of Philosophy. University of California Press.
    What is musical meaning? Where does it reside and how can it be known? Does it make a difference to its meaning if the music is composed with or without words, as a symphony or a song? Why is it claimed that music can express human feelings with an immediacy not possible in other languages or arts? What is contained in the claim that music is autonomous, or that it is prophetic and can articulate a 'politics for the future'? Concentrating (...)
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  40. Lydia Goehr (2012). Tres ratones ciegos: Goodman, McLuhan y Adorno sobre el arte de la música y del escuchar en la época de la transmisión global. Enrahonar: Quaderns de Filosofía 49:121-154.
    Este ensayo investiga el discurso global a la sombra de la década de 1960. Se basa en los puntos de vista de Nelson Goodman, Marshall McLuhan y Theodor W. Adorno para explorar tres conceptos centrales para la música en la época de la transmisión global: concordancia, corriente y virtualidad.
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  41. Robert Hullot-Kentor & Lydia Goehr (2006). Things Beyond Resemblance: Collected Essays on Theodor W. Adorno. Cup.
    Theodor W. Adorno was a major twentieth-century philosopher and social critic whose writings on oppositional culture in art, music, and literature increasingly stand at the center of contemporary intellectual debate. In this excellent collection, Robert Hullot-Kentor, widely regarded as the most distinguished American translator and commentator on Adorno, gathers together sixteen essays he has written about the philosopher over the past twenty years. The opening essay, "Origin Is the Goal," pursues Adorno's thesis of the dialectic of enlightenment to better understand (...)
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