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

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  1. 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.score: 210.0
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  2. 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.score: 210.0
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  3. Daniel Albright (2000). Untwisting the Serpent: Modernism in Music, Literature, and Other Arts. University of Chicago Press.score: 200.0
    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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  4. James W. McKinnon (ed.) (1987). Music in Early Christian Literature. Cambridge University Press.score: 192.0
    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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  5. National Reference Center for Bioethics Literature (2001). After BIOETHICSLINE: Online Searching of the Bioethics Literature. Kennedy Institute of Ethics Journal 11 (4):387-389.score: 180.0
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  6. National Reference Center for Bioethics Literature (2007). News From the National Reference Center for Bioethics Literature (NRCBL) and the National Information Resource on Ethics and Human Genetics (NIREHG). Kennedy Institute of Ethics Journal 17 (4).score: 180.0
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  7. Emery Schubert (2013). Emotion Felt by Listener and Expressed by Music: A Literature Review and Theoretical Investigation. Frontiers in Psychology 4.score: 174.0
    In his seminal paper, Gabrielsson (2002) distinguishes between emotion felt by the listener, here: ‘internal locus of emotion’ (IL), and the emotion the music is expressing, here: 'external locus emotion' (EL). This paper tabulates 16 such publications published in the decade 2003-2012 consisting of 19 studies/experiments and provides some theoretical perspectives. The key findings were that (1) IL ratings was frequently rated statistically the same or lower than the corresponding EL rating (e.g. lower felt happiness rating compared to the (...)
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  8. Christopher Butler (2004). Pleasure and the Arts: Enjoying Literature, Painting, and Music. Oxford University Press.score: 144.0
    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. Jenefer Robinson (2007). Deeper Than Reason: Emotion and its Role in Literature, Music, and Art. Clarendon Press.score: 144.0
    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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  10. Susan L. Feagin (2007). Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art (Review). Philosophy and Literature 31 (2):420-422.score: 126.0
  11. Peter Kivy (2011). Antithetical Arts: On the Ancient Quarrel Between Literature and Music. OUP Oxford.score: 126.0
    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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  12. John Neubauer (1992). Music and Literature: The Institutional Dimensions. In Steven P. Scher (ed.), Music and Text: Critical Inquiries. Cambridge University Press. 3--20.score: 126.0
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  13. 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.score: 120.0
  14. 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).score: 120.0
  15. Elisa Galgut (2011). Antithetical Arts: On the Ancient Quarrel Between Literature and Music – Peter Kivy. Philosophical Quarterly 61 (243):442-444.score: 120.0
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  16. K. M. Higgins (2007). Review: Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art. [REVIEW] Mind 116 (461):209-212.score: 120.0
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  17. J. Bicknell (2010). Antithetical Arts: On the Ancient Quarrel Between Literature and Music, by Peter Kivy. Mind 119 (474):497-500.score: 120.0
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  18. David L. Mosley (1993). Auflösung in Nineteenth-Century Literature and Music. Journal of Aesthetics and Art Criticism 51 (3):437-444.score: 120.0
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  19. Peter Rinderle (2009). Review of Peter Kivy, Antithetical Arts: On the Ancient Quarrel Between Literature and Music. [REVIEW] Notre Dame Philosophical Reviews 2009 (9).score: 120.0
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  20. Eva Cybulska (2012). The Denial of the Will-To-Live in Literature & Music. Philosophy Now 91:24-26.score: 120.0
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  21. 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.score: 120.0
  22. 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.score: 120.0
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  23. L. Goehr (2010). Antithetical Arts: On the Ancient Quarrel Between Literature and Music. British Journal of Aesthetics 50 (3):313-317.score: 120.0
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  24. Philip Gossett (2011). Antithetical Arts: On the Ancient Quarrel Between Literature and Music. Common Knowledge 17 (3):537-537.score: 120.0
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  25. Gerald Seaman (1989). Music Periodical Literature and the French Revolution. History of European Ideas 10 (2):221-226.score: 120.0
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  26. 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.score: 120.0
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  27. 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).score: 120.0
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  28. Averil Cameron & A. R. Littlewood (1997). Originality in Byzantine Literature, Art and Music. A Collection of Essays. Journal of Hellenic Studies 117:266.score: 120.0
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  29. Boris Gasparov (2008). Wendy Steiner, Ed. The Sign in Music and Literature. American Journal of Semiotics 1 (4):113-122.score: 120.0
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  30. 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.score: 120.0
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  31. Deborah McGrady (2005). Ardis Butterfield, Poetry and Music in Medieval France From Jean Renart to Guillaume de Machaut. (Cambridge Studies in Medieval Literature, 49.) Cambridge, Eng.: Cambridge University Press, 2002. Pp. Xx, 375; 15 Black-and-White Figures, 18 Musical Examples, and Tables. $70. [REVIEW] Speculum 80 (2):530-531.score: 120.0
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  32. Birgitte Stougaard (2004). Gesture in Music and Literature - Virginia Woolf. Nordic Journal of Aesthetics 16 (29-30).score: 120.0
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  33. 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.score: 120.0
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  34. 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.score: 120.0
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  35. Joseph S. Fulda (1993). Computer-Generated Art, Music, and Literature: Philosophical Conundrums. SIGART Bulletin 4 (1):6-7.score: 120.0
    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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  36. Mary I. George (1990). The Propaedeutic Role of Music and Literature in Liberal Education. Laval Théologique et Philosophique 46 (2):177-195.score: 120.0
  37. C. Stephen Jaeger (ed.) (2010). Magnificence and the Sublime in Medieval Aesthetics: Art, Architecture, Literature, Music. Palgrave Macmillan.score: 120.0
     
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  38. 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.score: 120.0
     
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  39. Dl Mosley (1993). Auflosing in 19th-Century Literature and Music+ Pitch and Aesthetic Resolution. Journal of Aesthetics and Art Criticism 51 (3):437-444.score: 120.0
     
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  40. 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.score: 120.0
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  41. Steven P. Scher (ed.) (1992). Music and Text: Critical Inquiries. Cambridge University Press.score: 102.0
    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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  42. Marshall Brown (2010). The Tooth That Nibbles at the Soul: Essays on Music and Poetry. University of Washington Press.score: 102.0
    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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  43. Jenefer Robinson (ed.) (1997). Music & Meaning. Cornell University Press.score: 84.0
    In order to promote new ways of thinking about musical meaning, this volume brings together scholars in music theory, musicology, and the philosophy of music, ...
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  44. Kevin Barry (1987). Language, Music, and the Sign: A Study in Aesthetics, Poetics, and Poetic Practice From Collins to Coleridge. Cambridge University Press.score: 84.0
    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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  45. Diane Kelsey McColley (1997). Poetry and Music in Seventeenth-Century England. Cambridge University Press.score: 84.0
    This study explores the relationship between the poetic language of Donne, Herbert, Milton, and other British poets, and the choral music and part-songs of composers including Tallis, Byrd, Gibbons, Weelkes, and Tomkins. The seventeenth century was the time in English literary history when music was most consciously linked to words, and when the mingling of Renaissance and 'new' philosophy opened new discovery routes for the interpretation of art. McColley offers close readings of poems and the musical settings of (...)
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  46. Bruce W. Holsinger (2001). Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer. Stanford University Press.score: 84.0
    Ranging chronologically from the twelfth to the fifteenth century and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, from the musicality of sodomy in twelfth-century polyphony to Chaucer's representation of pedagogical violence in the Prioress's Tale, from early Christian writings on the music of the body to the plainchant and poetry of Hildegard of Bingen, the (...)
     
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  47. Elisa Caldarola, Davide Quattrocchi & Gabriele Tomasi (eds.) (2013). Wittgenstein, l'estetica e le arti. Carocci.score: 78.0
    In his writings Wittgenstein has touched some key aspects of aesthetic experience, of the experience of art, and of the dynamics of culture. Moreover, several lines of research in these fields have emerged and are still emerging from the roots of Wittgenstein's thought. This volume collects a number of essays on these topics by renowned international scholars (such as H.-J. Glock, J. Hyman, S. Majetschak, J. Schulte, A. Voltolini, and W. Vossenkuhl) and younger researchers. Our aim is to document the (...)
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  48. Walter Bernhart & Werner Wolf (eds.) (2010). Self-Reference in Literature and Other Media. Rodopi.score: 78.0
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  49. Arun Kumar Bhattacharya (1974). Dimensions: Philosophical Essays on the Nature of Music and Poetry. K. P. Bagchi on Behalf of Uttarsuri.score: 78.0
     
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  50. John T. Dzieglewicz (1980). The Conditions of Music.score: 78.0
     
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