Search results for 'Music' (try it on Scholar)

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Bibliography: Music in Arts and Humanities
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  1. Pop Music (2004). Music Critics and Aestheticians Are, on the Surface, Advocates and Guardians of Good Music. But What Exactly is “Good”. In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge 62.
     
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  2. Rock Critics Need Bad Music (2004). “I Like Bad Music.” That's My Usual Response to People Who Ask Me About My Musi. In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge
     
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  3.  18
    Andreas Dorschel (2011). Music and Pain. In Jane Fulcher (ed.), The Oxford Handbook of the New Cultural History of Music. Oxford University Press 68-79.
    Ancient mythology related music to pain in a twofold way. Pain is the punishment inflicted for producing inferior music: the fate of Marsyas; music is sublimation of pain: the achievement of Orpheus and of Philomela. Both aspects have played defining roles in Western musical culture. Pain’s natural expression is the scream. To be present in music at all, pain needs to be transformed. So even where music expresses pain, at the same time it appeases that (...)
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  4.  47
    Kendall Walton (2011/2015). Thoughtwriting—in Poetry and Music. In Kendall L. Walton (ed.), In Other Shoes: Music, Metaphor, Empathy, Existence. Oxford University Press 54-74.
    Poetry is a literary art, and is often examined alongside the novel, stories, and theater. But poetry, much of it, has more in common with music, in important respects, than with other forms of literature. The emphasis on sound and rhythm in both poetry and music is obvious, but I will explore a very different similarity between them. All or almost all works of literary fiction have narrators—so it is said anyway—characters who, in the world of the fiction, (...)
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  5. Robin James (2011). Feminist Aesthetics, Popular Music, and the Politics of the 'Mainstream'. In L. Ryan Musgrave (ed.), Feminist Aesthetics and Philosophy of Art. Springer
    While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some (...)
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  6. Roger Scruton (1999). The Aesthetics of Music. Oxford University Press.
    What is music, what is its value, and what does it mean? In this stimulating volume, Roger Scruton offers a comprehensive account of the nature and significance of music from the perspective of modern philosophy. The study begins with the metaphysics of sound. Scruton distinguishes sound from tone; analyzes rhythm, melody, and harmony; and explores the various dimensions of musical organization and musical meaning. Taking on various fashionable theories in the philosophy and theory of music, he presents (...)
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  7. Patrik N. Juslin & Daniel Västfjäll (2008). Emotional Responses to Music: The Need to Consider Underlying Mechanisms. Behavioral and Brain Sciences 31 (5):559-575.
    Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, (...)
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  8.  68
    Jyh-Shen Chiou, Chien-yi Huang & Hsin-hui Lee (2005). The Antecedents of Music Piracy Attitudes and Intentions. Journal of Business Ethics 57 (2):161 - 174.
    Piracy is the greatest threat facing the music industry worldwide today. This study developed and empirically tested a model examining the antecedents of consumer attitude and behavioral intention toward music piracy behavior. Two types of music piracy behavior, unauthorized duplication/download and pirated music product purchasing, were examined. Based on a field survey in Taiwan, the results showed that attributive satisfaction, perceived prosecution risk, magnitude of consequence, and social consensus are very important in influencing customers attitude and (...)
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  9. Andrew Geeves, Doris J. F. McIlwain, John Sutton & Wayne Christensen (2013). To Think or Not To Think: The Apparent Paradox of Expert Skill in Music Performance. Educational Philosophy and Theory (6):1-18.
    Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. (...)
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  10. Julian Dodd (2007). Works of Music: An Essay in Ontology. Oxford University Press.
    Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered (...)
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  11.  51
    John Powell, Time, Music, and Gardens. Proceedings: Time Theories and Music Conference.
    This conference paper contests the validity of some traditional concepts of gardens. It introduces the possibility of considering the passage of time in gardens as a musical, rhythmic phenomonen.
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  12.  8
    Wesley D. Cray (2016). Unperformable Works and the Ontology of Music. British Journal of Aesthetics 56 (1):67-81.
    Some artworks—works of music, theatre, dance, and the like—are works for performance. Some works for performance are, I contend, unperformable. Some such works are unperformable by beings like us; others are unperformable given our laws of nature; still others are unperformable given considerations of basic logic. I offer examples of works for performance—focusing, in particular, on works of music—that would fit into each of these categories, and go on to defend the claim that such ‘works’ really are genuine (...)
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  13. Joel Krueger (2011). Doing Things with Music. Phenomenology and the Cognitive Sciences 10 (1):1-22.
    This paper is an exploration of how we do things with music—that is, the way that we use music as an esthetic technology to enact micro-practices of emotion regulation, communicative expression, identity construction, and interpersonal coordination that drive core aspects of our emotional and social existence. The main thesis is: from birth, music is directly perceived as an affordance-laden structure. Music, I argue, affords a sonic world, an exploratory space or nested acoustic (...)
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  14. Robert F. Easley (2005). Ethical Issues in the Music Industry Response to Innovation and Piracy. Journal of Business Ethics 62 (2):163 - 168.
    The current conflict between the recording industry and a portion of its customers who are involved in illicit copying of music files arose from innovations involving the compression and electronic distribution of files over the internet. This paper briefly describes some of the challenges faced by the recording industry, and examines some of the ethical issues that arise in various industry and consumer responses to the opportunities and threats presented by these innovations. The paper concludes by highlighting the risks (...)
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  15.  82
    Leonard B. Meyer (1956). Emotion and Meaning in Music. [Chicago]University of Chicago Press.
    Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...
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  16.  36
    Henkjan Honing & Annemie Ploeger (2012). Cognition and the Evolution of Music: Pitfalls and Prospects. Topics in Cognitive Science 4 (4):513-524.
    What was the role of music in the evolutionary history of human beings? We address this question from the point of view that musicality can be defined as a cognitive trait. Although it has been argued that we will never know how cognitive traits evolved (Lewontin, 1998), we argue that we may know the evolution of music by investigating the fundamental cognitive mechanisms of musicality, for example, relative pitch, tonal encoding of pitch, and beat induction. In addition, we (...)
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  17.  44
    Rong-An Shang, Yu-Chen Chen & Pin-Cheng Chen (2008). Ethical Decisions About Sharing Music Files in the P2p Environment. Journal of Business Ethics 80 (2):349 - 365.
    Digitized information and network have made an enormous impact on the music and movie industries. Internet piracy is popular and has greatly threatened the companies in these industries. This study tests Hunt-Vitell’s ethical decision model and attempts to understand why and how people share unauthorized music files with others in the peer-to-peer (P2P) network. The norm of anti-piracy, the ideology of free software, the norm of reciprocity, and the ideology of consumer rights are proposed as four deontological norms (...)
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  18. 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 (...)
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  19.  6
    Adrian Currie & Anton Killin (2016). Musical Pluralism and the Science of Music. European Journal for Philosophy of Science 6 (1):9-30.
    The scientific investigation of music requires contributions from a diverse array of disciplines. Given the diverse methodologies, interests and research targets of the disciplines involved, we argue that there is a plurality of legitimate research questions about music, necessitating a focus on integration. In light of this we recommend a pluralistic conception of music—that there is no unitary definition divorced from some discipline, research question or context. This has important implications for how the scientific study of (...) ought to proceed: we show that some definitions are complementary, that is, they reflect different research interests and ought to be retained and, where possible, integrated, while others are antagonistic, they represent real empirical disagreement about music’s nature and how to account for it. We illustrate this in discussion of two related issues: questions about the evolutionary function of music, and questions of the innateness of music. These debates have been, in light of pluralism, misconceived. We suggest that, in both cases, scientists ought to proceed by constructing integrated models which take into account the dynamic interaction between different aspects of music. (shrink)
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  20.  61
    Shoshana Altschuller & Raquel Benbunan-Fich (2009). Is Music Downloading the New Prohibition? What Students Reveal Through an Ethical Dilemma. Ethics and Information Technology 11 (1):49-56.
    Although downloading music through unapproved channels is illegal, statistics indicate that it is widespread. The following study examines the attitudes and perceptions of college students that are potentially engaged in music downloading. The methodology includes a content analysis of the recommendations written to answer an ethical vignette. The vignette presented the case of a subject who faces the dilemma of whether or not to download music illegally. Analyses of the final reports indicate that there is a vast (...)
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  21.  49
    Barbara Tillmann (2012). Music and Language Perception: Expectations, Structural Integration, and Cognitive Sequencing. Topics in Cognitive Science 4 (4):568-584.
    Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, (...)
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  22.  65
    Ronald Bogue (2003). Deleuze on Music, Painting, and the Arts. Routledge.
    Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as a whole. Deleuze on Music, Painting and the Arts breaks new ground in the scholarship on Deleuze's aesthetics, while providing a clear and accessible guide to his often overlooked writings in the fields of music and painting.
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  23.  34
    Stephanie M. Stalinski & E. Glenn Schellenberg (2012). Music Cognition: A Developmental Perspective. Topics in Cognitive Science 4 (4):485-497.
    Although music is universal, there is a great deal of cultural variability in music structures. Nevertheless, some aspects of music processing generalize across cultures, whereas others rely heavily on the listening environment. Here, we discuss the development of musical knowledge, focusing on four themes: (a) capabilities that are present early in development; (b) culture-general and culture-specific aspects of pitch and rhythm processing; (c) age-related changes in pitch perception; and (d) developmental changes in how listeners perceive emotion in (...)
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  24. Jonathan A. Neufeld (2013). Billy Budd's Song: Authority and Music in the Public Sphere. Opera Quarterly 28 (3-4):172-191.
    While Billy Budd's beauty has often been connected to his innocence and his moral goodness, the significance of the musical character of his beauty—what I will argue is the site of a struggle for political expression—has not been remarked upon by commentators of Melville's novella. It has, however, been deeply explored by Britten's opera. Music has often been situated at, or just beyond, the limits of communication; it has served as a medium of the ineffable, of unsaid and unsayable (...)
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  25.  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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  26. Tom Cochrane (2010). Using the Persona to Express Complex Emotions in Music. Music Analysis 29 (1-3):264-275.
  27.  7
    David E. Cooper (forthcoming). Music, Nature and Ineffability. Philosophia:1-10.
    In the final chapter of his Ineffability and Religious Experience, Guy Bennett-Hunter proposes that the ineffable may be ‘bodied forth’ through works of art and ritual, and hence engage with our lives. By way of supporting this proposal, this paper discusses some relationships between experiences of music and of natural environments. It is argued that several aspects of musical experience encourage a sense of convergence or intimacy between human practice and nature. Indeed, these aspects suggest a codependence between culture (...)
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  28.  97
    Malcolm Budd (1985). Music and the Emotions: The Philosophical Theories. Routledge & Kegan Paul.
    The most fundamental debate in the philosophy of music involves the question of whether there is an artistically important connection between music and the ...
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  29.  32
    Stephen Davies (2003). Themes in the Philosophy of Music. Oxford University Press.
    Representing Stephen Davies's best shorter writings, these essays outline developments within the philosophy of music over the last two decades, and summarize the state of play at the beginning of a new century. Including two new and previously unpublished pieces, they address both perennial questions and contemporary controversies, such as that over the 'authentic performance' movement, and the impact of modern technology on the presentation and reception of musical works. Rather than attempting to reduce musical works to a single (...)
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  30.  10
    Edward H. Hagen & Gregory A. Bryant (2003). Music and Dance as a Coalition Signaling System. Human Nature 14 (1):21-51.
    Evidence suggests that humans might have neurological specializations for music processing, but a compelling adaptationist account of music and dance is lacking. The sexual selection hypothesis cannot easily account for the widespread performance of music and dance in groups (especially synchronized performances), and the social bonding hypothesis has severe theoretical difficulties. Humans are unique among the primates in their ability to form cooperative alliances between groups in the absence of consanguineal ties. We propose that this unique form (...)
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  31. Jerrold Levinson (2009). Philosophy and Music. Topoi 28 (2):119-123.
    This essay explores some aspects of the relation between philosophy and music. First, how music can inspire philosophy; second, how philosophy can inspire music. Mathematics as a middle term between music and philosophy, the idea of wholeness in a musical composition or a philosophical text, music as a mode of thought displaying traits such as logic, coherence, and sense—these are some ways in which music and philosophy may be seen to be connected. Also, composers (...)
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  32. Andrew Kania, The Philosophy of Music. Stanford Encyclopedia of Philosophy.
    This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.
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  33.  69
    Andrew Geeves, Doris Mcllwain, John Sutton & Wayne Christensen (2010). Expanding Expertise: Investigating a Musician’s Experience of Music Performance. ASCS09: Proceedings of the 9th Conference of the Australasian Society for Cognitive Science:106-113.
    Seeking to expand on previous theories, this paper explores the AIR (Applying Intelligence to the Reflexes) approach to expert performance previously outlined by Geeves, Christensen, Sutton and McIlwain (2008). Data gathered from a semi-structured interview investigating the performance experience of Jeremy Kelshaw (JK), a professional musician, is explored. Although JK’s experience of music performance contains inherently uncertain elements, his phenomenological description of an ideal performance is tied to notions of vibe, connection and environment. The dynamic nature of music (...)
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  34.  37
    Mark Andrew DeBellis (1995). Music and Conceptualization. Cambridge University Press.
    This book is a philosophical study of the relations between hearing and thinking about music. The central problem it addresses is as follows: how is it possible to talk about what a listener perceives in terms that the listener does not recognize? By applying the concepts and techniques of analytic philosophy the author explores the ways in which musical hearing may be described as nonconceptual, and how such mental representation contrasts with conceptual thought. The author is both philosopher and (...)
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  35.  27
    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 (...)
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  36.  12
    Aaron Ridley, The Philosophy of Music: Theme and Variations.
    Ridley's book is both an introduction to philosophy of music generally and an introduction to an individual, pungently flavoured philosophy of music. His arguments are lively and provocative, and to boot, he writes like a dream. This is the kind of book that reminds one why philosophy matters, especially as applied to the things we love most.-Jerrold Levinson, professor of philosophy, University of Maryland This outstanding book provides new and distinctive approaches to the five central topics of musical (...)
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  37.  88
    Andrew Kania (2010). Silent Music. Journal of Aesthetics and Art Criticism 68 (4):343-353.
    In this essay, I investigate musical silence. I first discuss how to integrate the concept of silence into a general theory or definition of music. I then consider the possibility of an entirely silent musical piece. I begin with John Cage’s 4′33″, since it is the most notorious candidate for a silent piece of music, even though it is not, in fact, silent. I conclude that it is not music either, but I argue that it is a (...)
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  38. Cynthia R. Nielsen (2009). “What Has Coltrane to Do With Mozart: The Dynamism and Built-in Flexibility of Music”. Expositions 3:57-71.
    Although contemporary Western culture and criticism has usually valued composition over improvisation and placed the authority of a musical work with the written text rather than the performer, this essay posits these divisions as too facile to articulate the complex dynamics of making music in any genre or form. Rather it insists that music should be understood as pieces that are created with specific intentions by composers but which possess possibilities of interpretation that can only be brought out (...)
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  39.  62
    Michael Luntley (2003). Nonconceptual Content and the Sound of Music. Mind and Language 18 (4):402-426.
    : I present an argument for the existence of nonconceptual representational content. The argument is compatible with McDowell's defence of conceptualism against those arguments for nonconceptual content that draw upon claims about the fine‐grainedness of experience. I present a case for nonconceptual content that concentrates on the idea that experience can possess representational content that cannot perform the function of conceptual content, namely figure in the subject's reasons for belief and action. This sort of argument for nonconceptual content is best (...)
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  40. G. Mazzola (2002). The Topos of Music: Geometric Logic of Concepts, Theory, and Performance. Birkhauser Verlag.
    The Topos of Music is the upgraded and vastly deepened English extension of the seminal German Geometrie der Töne. It reflects the dramatic progress of mathematical music theory and its operationalization by information technology since the publication of Geometrie der Töne in 1990. The conceptual basis has been vastly generalized to topos-theoretic foundations, including a corresponding thoroughly geometric musical logic. The theoretical models and results now include topologies for rhythm, melody, and harmony, as well as a classification theory (...)
     
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  41.  2
    Rhonda Claire Siu (forthcoming). Rethinking the Body and Space in Alfred Schutz’s Phenomenology of Music. Human Studies:1-14.
    What is initially striking about Alfred Schutz’s phenomenological account of the musical experience, which encompasses both the performance and reception of music, is his apparent dismissal of the corporeal and spatial aspects of that experience. The paper argues that this is largely a product of his wider understanding of temporality wherein the mind and time are privileged over the body and space, respectively. While acknowledging that Schutz’s explicit or stated view is that the body and space are relatively insignificant (...)
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  42.  24
    Sarah C. Creel & Melanie A. Tumlin (2012). Online Recognition of Music Is Influenced by Relative and Absolute Pitch Information. Cognitive Science 36 (2):224-260.
    Three experiments explored online recognition in a nonspeech domain, using a novel experimental paradigm. Adults learned to associate abstract shapes with particular melodies, and at test they identified a played melody’s associated shape. To implicitly measure recognition, visual fixations to the associated shape versus a distractor shape were measured as the melody played. Degree of similarity between associated melodies was varied to assess what types of pitch information adults use in recognition. Fixation and error data suggest that adults naturally (...)
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  43.  80
    Kevin Connolly, John Donaldson, David M. Gray, Emily McWilliams, Sofia Ortiz-Hinojosa & David Suarez, Recognizing Emotion in Music (Network for Sensory Research Toronto Workshop on Perceptual Learning: Question Six).
    This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: How do we recognize distinct types of emotion in music?
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  44. Theodor W. Adorno (2006). Philosophy of New Music. Univ of Minnesota Press.
    [Tnis is a new translation of Adorno's Philosophie der neuen Musik. The older translation has the title 'Philosophy of Modern Music'. -NJ].
     
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  45.  45
    Theodore Gracyk & Andrew Kania (eds.) (2011). The Routledge Companion to Philosophy and Music. Routledge.
    " Guy Dammann, Guildhall School of Music and Drama, UK "This admirable volume will be welcomed by established philosophers of and especially - by those coming ...
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  46.  9
    Joseph Nathan Straus (2011). Extraordinary Measures: Disability in Music. Oxford University Press.
    Composers with disabilities and the critical reception of their music -- Musical narratives of disability overcome : Beethoven -- Musical narratives of disability accommodated : Schubert -- Musical narratives of balance lost and regained : Schoenberg and Webern -- Musical narratives of the fractured body : Schoenberg, Stravinsky, Bartók, and Copland -- Disability within music-theoretical traditions -- Performing music and performing disability -- Prodigious hearing, normal hearing, and disablist hearing.
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  47. Panagiotis A. Kanellopoulos (2012). Envisioning Autonomy Through Improvising and Composing: Castoriadis Visiting Creative Music Education Practice. Educational Philosophy and Theory 44 (2):151-182.
    Do psychological perspectives constitute the only way through which the role of musical creativity in education can be addressed, researched and theorised? This essay attempts to offer an alternative view of musical creativity as a deeply social and political form of human praxis, by proposing a perspective rooted in the thought of the political philosopher and activist Cornelius Castoriadis (1922–1997). This is done in two steps. First, an attempt is made to place the pursuit of the concept of musical creativity (...)
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  48.  4
    Steven Pustay (2015). Love's Old Song Will Be New: Deleuze, Busby Berkeley and Becoming-Music. Film-Philosophy 19:172-189.
    This article argues that Busby Berkeley’s unique musical spectacles invert the cinematic taxonomy found in Deleuze’s twin volumes on Cinema through the process of ‘becoming-music.’ By taking up a form that I term ‘visual-music,’ in which musical properties are incorporated within the image, Berkeley’s work problematizes Deleuze’s philosophy of cinematic sound and benefits instead from the conceptions of the musical refrain and rhythm located in Deleuze and Guattari’s A Thousand Plateaus. Breaking away from traditional Deleuzian readings of cinema, (...)
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  49. Robin M. James (2007). Deconstruction, Fetishism, and the Racial Contract: On the Politics of "Faking It" in Music. CR 7 (1):45-80.
    I read Sara Kofman's work on Nietzsche, Charles Mills' _The Racial Contract_, and Kodwo Eshun's Afrofuturist musicology to argue that most condemnations of "faking it" in music rest on a racially and sexually problematic fetishization of "the real.".
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  50.  33
    Philip Ball (2010). The Music Instinct: How Music Works and Why We Can't Do Without It. Oxford University Press.
    Now in The Music Instinct , award-winning writer Philip Ball provides the first comprehensive, accessible survey of what is known--and still unknown--about how ...
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