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

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  1. Marlies Kronegger, Anna-Teresa Tymieniecka, World Institute for Advanced Phenomenological Research and Learning, International Society for Phenomenology and Literature & International Phenomenology Congress (1994). Allegory Old and New in Literature, Fine Art, Music and Theatre and its Continuity in Culture.
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  2. Anna-Teresa Tymieniecka & International Society for Phenomenology and Literature (1982). The Philosophical Reflection of Man in Literature Selected Papers From Several Conferences Held by the International Society for Phenomenology and Literature in Cambridge, Massachusetts.
     
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  3. 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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  4. 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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  5.  32
    Daniel Albright (2000). Untwisting the Serpent: Modernism in Music, Literature, and Other Arts. University of Chicago Press.
    From its dissonant musics to its surrealist spectacles (the urinal is a violin!), Modernist art often seems to give more frustration than pleasure to its audience. In Untwisting the Serpent, Daniel Albright shows that this perception arises partly because we usually consider each art form in isolation, even though many of the most important artistic experiments of the Modernists were collaborations involving several media--Igor Stravinsky's The Rite of Spring is a ballet, Gertrude Stein's Four Saints in Three Acts is an (...)
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  6.  5
    James W. McKinnon (ed.) (1987). Music in Early Christian Literature. Cambridge University Press.
    This book provides a collection of some 400 passages on music from early Christian literature - New Testament to c. 450 AD - newly translated from the original Greek, Latin, and Syriac. As there are no musical sources of the period, music historians must rely upon remarks about music in literary sources to gain some knowledge of early Christian liturgical music. This volume makes a large and representative collection of the material conveniently available. The passages (...)
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  7. Jenefer Robinson (2005). Deeper Than Reason: Emotion and its Role in Literature, Music and Art. Oxford University Press Uk.
    Deeper than Reason takes the insights of modern psychological and neuroscientific research on the emotions and brings them to bear on questions about our emotional involvement with the arts. Robinson begins by laying out a theory of emotion, one that is supported by the best evidence from current empirical work on emotions, and then in the light of this theory examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her (...)
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  8.  77
    Christopher Butler (2004). Pleasure and the Arts: Enjoying Literature, Painting, and Music. Oxford University Press.
    How do the arts give us pleasure? Covering a very wide range of artistic works, from Auden to David Lynch, Rembrandt to Edward Weston, and Richard Strauss to Keith Jarrett, Pleasure and the Arts offers us an explanation of our enjoyable emotional engagements with literature, music, and painting. The arts direct us to intimate and particularized relationships, with the people represented in the works, or with those we imagine produced them. When we listen to music, look at (...)
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  9.  5
    Dimitri Bayuk (2002). Literature, Music, and Science in Nineteenth Century Russian Culture: Prince Odoyevskiy’s Quest for a Natural Enharmonic Scale. Science in Context 15 (2).
    Known today mostly as an author of Romantic short stories and fairy tales for children, Prince Vladimir Odoyevskiy was a distinguished thinker of his time, philosopher and bibliophile. The scope of his interests includes also history of magic arts and alchemy, German Romanticism, Church music. An attempt to understand the peculiarity of eight specific modes used in chants of Russian Orthodox Church led him to his own musical theory based upon well-known writings by Zarlino, Leibniz, Euler, Prony. He realized (...)
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  10. Jenefer Robinson (2005). Deeper Than Reason: Emotion and its Role in Literature, Music, and Art. Clarendon Press.
    Jenefer Robinson takes the insights of modern scientific research on the emotions and uses them to illuminate questions about our emotional involvement with the arts. Laying out a theory of emotion supported by the best evidence from current empirical work, she examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone interested in the emotions and how they work, as well as anyone (...)
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  11. Andreas Giger & Thomas J. Mathiesen (2002). Music in the Mirror Reflections on the History of Music Theory and Literature for the 21st Century. Monograph Collection (Matt - Pseudo).
     
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  12. Peter Le Huray & John E. Stevens (1981). Cambridge Readings in the Literature of Music. Cambridge University Press.
     
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  13.  2
    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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  14.  24
    Susan L. Feagin (2007). Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art (Review). Philosophy and Literature 31 (2):420-422.
  15. Peter Kivy (2009). Antithetical Arts: On the Ancient Quarrel Between Literature and Music. Oxford University Press Uk.
    Antithetical Arts constitutes a defence of musical formalism against those who would put literary interpretations on the absolute music canon. In Part I, the historical origins of both the literary interpretation of absolute music and musical formalism are laid out. In Part II, specific attempts to put literary interpretations on various works of the absolute music canon are examined and criticized. Finally, in Part III, the question is raised as to what the human significance of absolute (...) is, if it does not lie in its representational or narrative content. The answer is that, as yet, philosophy has no answer, and that the question should be considered an important one for philosophers of art to consider, and to try to answer without appeal to representational or narrative content. (shrink)
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  16. John Neubauer (1992). Music and Literature: The Institutional Dimensions. In Steven P. Scher (ed.), Music and Text: Critical Inquiries. Cambridge University Press 3--20.
     
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  17. David L. Mosley (1993). Auflösung in Nineteenth-Century Literature and Music. Journal of Aesthetics and Art Criticism 51 (3):437-444.
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  18.  99
    K. M. Higgins (2007). Review: Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art. [REVIEW] Mind 116 (461):209-212.
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  19.  86
    Curtis Fogel (2008). Jenefer Robinson, Deeper Than Reason: Emotion and its Role in Literature, Music, and Art. [REVIEW] Minds and Machines 18 (2):289-292.
  20.  49
    James Harold (2007). Review of Jenefer Robinson, Deeper Than Reason: Emotion and its Role in Literature, Music, and Art. [REVIEW] Notre Dame Philosophical Reviews 2007 (6).
  21.  9
    Joseph S. Fulda (1993). Computer-Generated Art, Music, and Literature: Philosophical Conundrums. SIGART Bulletin 4 (1):6-7.
    Considers the question of the authorship of the works in the title from a /philosophical/, as opposed to legal, standpoint, using the sense-reference dichotomy, intension-extension dichotomy, and procedural knowledge-declarative knowledge dichotomy. Reaches no conclusion.
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  22.  11
    Eva Cybulska (2012). The Denial of the Will-To-Live in Literature & Music. Philosophy Now 91:24-26.
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  23.  10
    Philip Gossett (2011). Antithetical Arts: On the Ancient Quarrel Between Literature and Music. Common Knowledge 17 (3):537-537.
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  24.  4
    Mary I. George (1990). The Propaedeutic Role of Music and Literature in Liberal Education. Laval Théologique et Philosophique 46 (2):177-195.
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  25.  18
    Elisa Galgut (2011). Antithetical Arts: On the Ancient Quarrel Between Literature and Music – Peter Kivy. Philosophical Quarterly 61 (243):442-444.
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  26.  6
    M. L. West (1991). Greek Musical Writings II Andrew Barker (Tr.): Greek Musical Writings, II: Harmonic and Acoustic Theory. (Cambridge Readings in the Literature of Music.) Pp. Viii + 581; Diagrams. Cambridge University Press, 1989. £55. [REVIEW] The Classical Review 41 (01):45-46.
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  27.  6
    Gerald Seaman (1989). Music Periodical Literature and the French Revolution. History of European Ideas 10 (2):221-226.
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  28.  9
    Liana Chen (2012). Text, Performance, and Gender in Chinese Literature and Music: Essays in Honor of Wilt Idema, Eds. Maghiel van Crevel, Tian Yuan Tan, and Michel Hockx. (Leiden: E. J. Brill, 2009. Vii, 465 Pp. Hardback, ISBN 9789004179066.). [REVIEW] Journal of Chinese Philosophy 39 (2):320-324.
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  29.  6
    Boris Gasparov (2008). Wendy Steiner, Ed. The Sign in Music and Literature. American Journal of Semiotics 1 (4):113-122.
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  30.  11
    M. L. West (1985). Greek Music Andrew Barker: Greek Musical Writings, I: The Musician and His Art. (Cambridge Readings in the Literature of Music.) Pp. Xv + 332; 17 Half-Tone Reproductions, 4 Diagrams. Cambridge University Press, 1984. £27.50. [REVIEW] The Classical Review 35 (02):364-365.
  31.  5
    Averil Cameron & A. R. Littlewood (1997). Originality in Byzantine Literature, Art and Music. A Collection of Essays. Journal of Hellenic Studies 117:266.
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  32.  5
    Birgitte Stougaard (2004). Gesture in Music and Literature - Virginia Woolf. Nordic Journal of Aesthetics 16 (29-30).
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  33.  2
    Thomas Binkley (1992). James V. McMahon, The Music of Early Minnesang.(Studies in German Literature, Linguistics, and Culture, 41.) Columbia, SC: Camden House, 1990. Pp. 186; Diagrams and Many Musical Examples. [REVIEW] Speculum 67 (3):723-725.
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  34. James O. Young (2006). Jenefer Robinson, Deeper Than Reason: Emotion and its Role in Literature, Music, and Art Reviewed By. Philosophy in Review 26 (5):374-376.
     
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  35.  8
    Peter Rinderle (2009). Review of Peter Kivy, Antithetical Arts: On the Ancient Quarrel Between Literature and Music. [REVIEW] Notre Dame Philosophical Reviews 2009 (9).
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  36.  8
    J. Bicknell (2010). Antithetical Arts: On the Ancient Quarrel Between Literature and Music, by Peter Kivy. Mind 119 (474):497-500.
    (No abstract is available for this citation).
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  37.  2
    Theodore Gracyk (2009). Antithetical Arts: On the Ancient Quarrel Between Literature and Music by Kivy, Peter. Journal of Aesthetics and Art Criticism 67 (4):435-438.
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  38.  1
    B. S. Turner (2008). Book Review: On Late Style: Music and Literature Against the Grain by Edward W. Said New York: Pantheon Books, 2006. [REVIEW] Theory, Culture and Society 25 (1):155-156.
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  39.  5
    L. Goehr (2010). Antithetical Arts: On the Ancient Quarrel Between Literature and Music. British Journal of Aesthetics 50 (3):313-317.
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  40. C. Stephen Jaeger (ed.) (2010). Magnificence and the Sublime in Medieval Aesthetics: Art, Architecture, Literature, Music. Palgrave Macmillan.
     
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  41. Matthias Kross (2012). Handling Bodies, Vertical Stress, Responsivity and Music Philosophy Ludwig Wittgenstein in the Mirror of Recent Literature. Philosophische Rundschau 59 (3):197 - 216.
     
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  42. K. Mitchells (1970). "Verbal Music in German Literature": Steven Paul Scher. [REVIEW] British Journal of Aesthetics 10 (1):89.
     
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  43. Dl Mosley (1993). Auflosing in 19th-Century Literature and Music+ Pitch and Aesthetic Resolution. Journal of Aesthetics and Art Criticism 51 (3):437-444.
     
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  44. Christopher Norris (1982). "The Sign in Music and Literature": Edited by Wendy Steiner. [REVIEW] British Journal of Aesthetics 22 (4):371.
     
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  45. Diana Omigie (2015). Music and Literature: Are There Shared Empathy and Predictive Mechanisms Underlying Their Affective Impact? Frontiers in Psychology 6.
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  46. H. C. Warren (1894). Psychological Literature: Music, Speech and Song. Psychological Review 1 (2):208-210.
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  47.  2
    Jessica Wiskus (2013). The Rhythm of Thought: Art, Literature, and Music After Merleau-Ponty. University of Chicago Press.
    Between present and past, visible and invisible, and sensation and idea, there is resonance—so philosopher Maurice Merleau-Ponty argued and so Jessica Wiskus explores in The Rhythm of Thought.
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  48.  51
    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 (...)
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  49. Marshall Brown (2010). The Tooth That Nibbles at the Soul: Essays on Music and Poetry. University of Washington Press.
    Introduction : music and abstraction -- Music and fantasy -- German romanticism and music -- Negative poetics : on skepticism and the lyric voice -- Rethinking the scale of literary history -- Mozart, Bach, and musical abjection -- Moods at mid-century : Handel and English literature, 1740-1760 -- Passion and love : anacreontic song and the roots of romantic lyric -- Haydn's whimsy : poetry, sexuality, repetition -- Non Giovanni : Mozart with Hegel.
     
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  50.  21
    Steven P. Scher (ed.) (1992). Music and Text: Critical Inquiries. Cambridge University Press.
    Melopoetics, the study of the multifarious relations between music and literature, has emerged in recent years as an increasingly popular field of interdisciplinary inquiry. In this volume, noted musicologists and literary critics explore diverse topics of shared concern such as literary theory as a model for musical criticism, genre theories in literature and music, the criticism and analysis of texted music, and the role of aesthetic, historical, and cultural understanding in concepts of text/music convergence. (...)
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