Search results for 'Music Philosophy and aesthetics' (try it on Scholar)

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  1.  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 (...)
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  2. 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 (...)
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  3.  63
    Andrew Bowie (2007). Music, Philosophy, and Modernity. Cambridge University Press.
    Modern philosophers generally assume that music is a problem to which philosophy ought to offer an answer. Andrew Bowie’s Music, Philosophy, and Modernity suggests, in contrast, that music might offer ways of responding to some central questions in modern philosophy. Bowie looks at key philosophical approaches to music ranging from Kant, through the German Romantics and Wagner, to Wittgenstein, Heidegger and Adorno. He uses music to re-examine many current ideas about language, subjectivity, (...)
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  4. 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, (...)
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  5.  16
    M. J. Grant (2001). Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe. Cambridge University Press.
    Serial music was one of the most important aesthetic movements to emerge in post-war Europe, but its uncompromising music and modernist aesthetic has often been misunderstood. This book focuses on the controversial journal die Reihe, whose major contributors included Stockhausen, Eimert, Pousseur, Dieter Schnebel and G. M. Koenig, and discusses it in connection with many lesser-known sources in German musicology. It traces serialism's debt to the theories of Klee and Mondrian, and its relationship to developments in concrete art, (...)
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  6.  34
    Roger Scruton (2009). Understanding Music: Philosophy and Interpretation. Continuum.
    Following his celebrated book The Aesthetics of Music, Scruton explores the fundamental elements that constitute a great piece of music.
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  7.  7
    Karl Popper & Divine Radiance (2005). ADORNO, THEODOR W.(Trans. By Anne G. Mitchell and Wesley V. Blomster). Philosophy of Modern Music. Continuum. 2003. Pp. 220.£ 14.99. BERUBE, MICHAEL (Ed.). The Aesthetics of Cultural Studies. Blackwell Publishing. 2004. Pp. 208. [REVIEW] British Journal of Aesthetics 45 (1).
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  8.  3
    H. B. Alexander (1912). Britan's The Philosophy of Music: A Comparative Investigation Into the Principles of Musical Esthetics. [REVIEW] Journal of Philosophy 9 (11):305.
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  9.  4
    Frank Palmer (2005). The Aesthetics of Music By Roger Scruton Clarendon Press, Oxford, Paperback 1999,£ 16.00 One of the Fundamental Problems in the Philosophy of Art Lies in the Char. [REVIEW] Philosophy 80.
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  10.  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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  11.  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 (...)
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  12.  27
    Lewis Eugene Rowell (1983). Thinking About Music: An Introduction to the Philosophy of Music. University of Massachusetts Press.
    Examines the nature of music and traces the history of music philosophy from ancient Greece to the twentieth century.
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  13.  20
    Carl Dahlhaus (1982). Esthetics of Music. Cambridge University Press.
    This book is an introduction to the esthetics of music. Aesthetics, which were of prime importance in thinking about music in the nineteenth century, are today sometimes suspected of being idle speculation. Yet judgments about music and every sort of musical activity are based on aesthetic presuppositions. Carl Dahlhaus gives an account of developments in the aesthetics of music from the mid-eighteenth century onwards. He combines a historical and systematic approach. Central themes in (...) are grouped together to illustrate both the historical course of events and a systematic unity of the essential elements in the aesthetics of music. For this edition, the late Carl Dahlhaus provided an annotated bibliography. William Austin has added books for the English-speaking reader, and has also supplied notes to the text to help the student. (shrink)
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  14.  25
    Peter Kivy (2007). Music, Language, and Cognition: And Other Essays in the Aesthetics of Music. Oxford University Press.
    I. History. Mainwaring's Handel : its relation to British aesthetics -- Herbert Spencer and a musical dispute -- II. Opera and film. Handel's operas : the form of feeling and the problem of appreciation -- Anti-semitism in Meistersinger? -- Speech, song, and the transparency of medium : on operatic metaphysics -- III. Performance. On the historically informed performance -- Ars perfecta : toward perfection in musical performance? -- IV. Interpretation. Another go at the meaning of music : Koopman, (...)
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  15.  5
    Edward A. Lippman (1977). A Humanistic Philosophy of Music. New York University Press.
    CHAPTER Our Field of Inquiry The history and the philosophy of music are obviously dependent upon music for their existence, but they are not for that ...
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  16. 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 (...) to some of its own limitations and unasked questions. This essay addresses the paucity of work in feminist philosophy and popular music by applying insights from other areas of feminist aesthetics to questions of popular music, and thereby using feminist aesthetics – specifically, Julia Kristea’s notion of female genius and the genius spectator – to critique itself. (shrink)
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  17.  15
    Stefan Lorenz Sorgner & Oliver Fürbeth (eds.) (2010). Music in German Philosophy: An Introduction. The University of Chicago Press.
    The book is prefaced by the editors’ original introduction, presenting music philosophy in Germany before and after Kant, as well as a new introduction and ...
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  18. Karl-Olof Edström (2007). A Different Story: Aesthetics and the History of Western Music. Pendragon Press.
    Homo aestheticus -- The Greeks -- The Age of Enlightenment -- A time of consolidation -- A period of expansion -- The present : the use of music : the transformation of aesthetics.
     
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  19.  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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  20.  12
    Carl E. Seashore (1981). In Search of Beauty in Music: A Scientific Approach to Musical Esthetics. Greenwood Press.
    In Search of Beauty in Music A SCIENTIFIC APPROACH TO MUSICAL ESTHETICS by CARL E. SEASHORE PROFESSOR OF PSYCHOLOGY AND DEAN EMERITUS OF THE GRADUATE SCHOOL, ...
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  21. Tatjana Böhme-Mehner, Klaus Mehner & Motje Wolf (eds.) (2008). Elektroakustische Musik: Technologie, Ästhetik Und Theorie Als Herausforderung an Die Musikwissenschaft = Electroacoustic Music: Technologies, Aesthetics, and Theories: A Musical Challenge. Blaue Eule.
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  22.  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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  23.  1
    Lazare Saminsky (1957). Physics and Metaphysics of Music and Essays on the Philosophy of Mathematics. The Hague, M. Nijhoff.
    A green philosopher's peripeteia.--Physics and metaphysics of music.--The roots of arithmetic.--Critique of new geometrical abstractions.--The philosophical value of science.
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  24.  48
    Theodor W. Adorno (2003/1984). Philosophy of Modern Music. Continuum.
    A landmark work from the founder of the Frankfurt School. A key work in the study of Adorno, of interest to students and general readers alike.
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  25.  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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  26.  75
    Bennett Reimer (1970). A Philosophy of Music Education. Englewood Cliffs, N.J.,Prentice-Hall.
  27.  18
    Kevin Barry (1987). Language, Music, and the Sign: A Study in Aesthetics, Poetics, and Poetic Practice From Collins to Coleridge. Cambridge University Press.
    Originally published in 1987, this book forms a conceptual account of the relationship between music and poetry in the late eighteenth and early nineteenth ...
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  28.  8
    Ernst Bloch (1985). Essays on the Philosophy of Music. Cambridge University Press.
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  29.  7
    Peter Kivy (2012). Sounding Off: Eleven Essays in the Philosophy of Music. Oxford University Press.
    Mozart's skull -- The case of the purloined partitur -- A tale of two authenticities -- Ancient authenticities -- Operatic authenticity -- Messiah's message -- Is nothing sacred? -- Sound in sound -- Music, science, and semantics -- Authorial intention and the pure musical parameters -- Leonard Meyer's sonata.
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  30.  50
    R. A. Sharpe (2000). Music and Humanism: An Essay in the Aesthetics of Music. Oxford University Press.
    Robert Sharpe examines the humanist conception of music as a language--as expressive and intelligible--which has been a dominant theory in Western culture. He argues against the view that music is expressive by causing certain states in us. Rather, he contends that our beliefs about music are integral to our appreciation of it. Differences in musical taste are then not just irresolvable differences in sensitivity, but the result of variations in circumstance and upbringing, of associations and ideology.
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  31.  39
    Eero Tarasti (1979). Myth and Music: A Semiotic Approach to the Aesthetics of Myth in Music, Especially That of Wagner, Sibelius and Stravinsky. Mouton.
    PART ONE 1. Introduction The purpose of this investigation is to explore the relations between myth and music. Although this research may be said to have a ...
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  32.  13
    Edward Campbell (2010). Boulez, Music and Philosophy. Cambridge University Press.
    Machine generated contents note: 1. Preparing the ground; 2. Early influences and movements; 3. Dialectic, negation and binary oppositions; 4. Boulez, Adorno and serial critique; 5. Deduction and the scientific model; 6. Serialism and structuralism; 7. Post-structuralist encounters; 8. Boulez, difference and repetition; 9. Expanding the virtual; 10. Continuity and discontinuity of space and time; Conclusion; Bibliography.
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  33. Lawrence Ferrara (1991). Philosophy and the Analysis of Music: Bridges to Musical Sound, Form, and Reference. Greenwood Press.
     
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  34. Carroll C. Pratt (1931/1968). The Meaning of Music: A Study in Psychological Aesthetics. New York, Johnson Reprint Corp..
     
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  35. Philip Alperson (ed.) (1987/1994). What is Music?: An Introduction to the Philosophy of Music. Pennsylvania State University Press.
    Contributors to this volume are Philip Alperson, Francis Sparshott, Nicholas Wolterstorff, Edward T. Cone, Peter Kivy, Jenefer Robinson, Joseph Margolis, Arnold ...
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  36. Karol Berger, Anthony Newcomb & Reinhold Brinkmann (eds.) (2005). Music and the Aesthetics of Modernity: Essays. Distributed by Harvard University Press.
  37. Hiren Bose (1988). Philosophy in Indian Music. Rupa & Co..
     
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  38. Irène Deliège (ed.) (2000). Musique Contemporaine: Théories Et Philosophie: Textes d'Étude = Contemporary Music: Theories and Philosophy: Working Papers. Escom Publications.
     
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  39. Enrico Fubini (1990). History of Music Aesthetics. Macmillan.
     
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  40. James F. Harris (1993). Philosophy at 33 1/3 Rpm: Themes of Classic Rock Music. Open Court.
     
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  41. Glen Haydon (1945). Music and Philosophy. S.N.].
     
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  42. Jamie Croy Kassler (2001). Music, Science, Philosophy: Models in the Universe of Thought. Ashgate.
     
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  43.  21
    Ruth Katz & Carl Dahlhaus (eds.) (1987). Contemplating Music: Source Readings in the Aesthetics of Music. Pendragon Press.
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  44. John Christopher Kommalapudi (2010). Philosophy of Indian Music: Contribution of the Trinity. Akansha Pub. House.
     
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  45. Byong Won Lee (1997). Styles and Esthetics in Korean Traditional Music. National Center for Korean Traditional Performing Arts, Ministry of Culture and Sports, Republic of Korea.
     
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  46. Eldritch Priest (2013). Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure. Bloomsbury Academic.
     
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  47. Sushil Kumar Saxena (2001). Hindustani Sangeet and a Philosopher of Art: Music, Rhythm, and Kathak Dance Vis-À-Vis Aesthetics of Susanne K. Langer. D.K. Printworld.
     
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  48. Michal Smoira-Cohn (2010). The Mission and Message of Music: Building Blocks to the Aesthetics of Music in Our Time. Cambridge Scholars.
     
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  49. Michael Goddard, Benjamin Halligan & Paul Hegarty (eds.) (2012). Reverberations: The Philosophy, Aesthetics and Politics of Noise. Continuum Intl Pub Group.
    Noise permeates our highly mediated and globalised cultures. Noise as art, music, cultural or digital practice is a way of intervening so that it can be harnessed for an aesthetic expression not caught within mainstream styles or distribution. This wide-ranging book examines the concept and practices of noise, treating noise not merely as a sonic phenomenon but as an essential component of all communication and information systems. The book opens with ideas of what noise is, and then works through (...)
     
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  50. 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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