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  1. Lydia Goehr (forthcoming). Writing Music History. History and Theory.
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  2. 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.
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  3. 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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  4. Lydia Goehr (2010). Die Macht des Bösen. Deutsche Zeitschrift für Philosophie 58 (5):811-815.
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  5. Lydia Goehr (2009). Normativity Without Norms. European Journal of Philosophy 17 (4):597-607.
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  6. Lydia Goehr (2009). Philosophy Without Art. New Nietzsche Studies 8 (1-2):34-57.
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  7. 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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  8. 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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  9. Lydia Goehr (2007). Afterwords: An Introduction to Arthur Danto's Philosophies of History and Art. History and Theory 46 (1):1–28.
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  10. 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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  11. 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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  12. Lydia Goehr (2003). Art and Politics. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. 471.
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  13. 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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  14. Lydia Goehr (2002). The Quest for Voice: Music, Politics, and the Limits of Philosophy. OUP Oxford.
    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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  15. 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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  16. 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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  17. Lydia Goehr (1994). Political Music and the Politics of Music. Journal of Aesthetics and Art Criticism 52 (1):99-112.
  18. 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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  19. Lydia Goehr (1993). Editorial. Journal of Aesthetics and Art Criticism 51 (2).
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  20. 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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  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. 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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  23. Lydia Goehr (1990). Book Reviews. [REVIEW] British Journal of Aesthetics 30 (2):190-192.
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  24. Lydia Goehr (1990). Modernity: A World Without Eyebrows. [REVIEW] Human Studies 13 (2):173-185.
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  25. 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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  26. Lydia Goehr (1990). Review: Modernity: A World Without Eyebrows. [REVIEW] Human Studies 13 (2):173 - 185.
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  27. Lydia Goehr (1989). Being True to the Work. Journal of Aesthetics and Art Criticism 47 (1):55-67.
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  28. Lydia Goehr (1989). Reflections on the Imitation of Greek Works in Painting and Sculpture. Teaching Philosophy 12 (3):329-332.
  29. Lydia Goehr (1987). On the Musically Beautiful: A Contribution Towards the Revision of the Aesthetics of Music. Teaching Philosophy 10 (3):271-273.