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

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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. Joscelyn Godwin (1987). Music, Mysticism, and Magic: A Sourcebook. Arkana.
     
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  4.  18
    Dane Rudhyar (1982). The Magic of Tone and the Art of Music. Distributed in the United States by Random House.
    Communication: Man's Primordial Need ORGANIC LIFE IN THE EARTH'S biosphere requires organisms to relate to other organisms. Human beings are particularly ...
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  5.  9
    Joyce Eastlund Gromko (2005). In Dialogue: Response to Alexandra Kertz-Wezel, ?The Magic of Music? Philosophy of Music Education Review 13 (1):117-120.
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  6.  8
    Alexandra Kertz-Welzel (2005). The "Magic" of Music: Archaic Dreams in Romantic Aesthetics and an Education in Aesthetics. Philosophy of Music Education Review 13 (1):77-94.
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  7.  6
    Joyce Eastlund Gromko (2005). Response to Alexandra Kertz-Wezel, "The Magic of Music&Quot. Philosophy of Music Education Review 13 (1):117-120.
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  8. Alexandra Kertz-Welzel (2005). The?Magic? Of Music: Archaic Dreams in Romantic Aesthetics and an Education in Aesthetics. Philosophy of Music Education Review 13 (1):77-94.
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  9.  11
    R. L. Gordon (2007). Balty (J.C.), Boardman (J.), Et Al. (Edd.) Thesaurus Cultus Et Rituum Antiquorum (ThesCRA). 1. Processions. Sacrifices. Libations. Fumigations. Dedications. Pp. Xxii + 612, Ills, Pls. ISBN: 978-0-89236-788-7. 2. Purification. Initiation. Heroization. Apotheosis. Banquet. Dance. Music. Cult Images. Pp. Xxii + 646, Ills, Pls. ISBN: 978-0-89236-789-4. 3. Divination. Prayer. Veneration. Hikesia. Asylia. Oath. Malediction. Profanation. Magic. Pp. Xviii + 434, Ills, Pls. ISBN: 978-0-89236-790-0. 4. Cult Places. Representations of Cult Places. Pp. Xiv + 485, Ills, Pls. ISBN: 978-0-89236-791-7. 5. Personnel of Cult. Cult Instruments. Pp. Xx + 502, Ills, Pls. ISBN: 978-0-89236-792-4. 6. Abbreviations. Index of Museums, Collections and Sites. Pp. Xvi + 167. ISBN: 978-0-89236-793-1. Los Angeles: The J. Paul Getty Museum, 2005–2006. Cased, Vols 1–5: £125, €180, US$225 Per Volume, Vol. 6: £40, €60, US$90. ISBN for the Set: 978-0-89236-787-. [REVIEW] The Classical Review 57 (2):514-517.
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  10. Florentina C. Andreescu & Sean P. Quinn (2014). Gypsy Fetish: Music, Dirt, Magic, and Freedom. Journal for Cultural Research 18 (4):275-290.
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  11. Ian Bostridge (2000). Music, Reason, and Politeness: Magic and Witchcraft in the Career of George Fredric Handel. In Peter Burke & Brian Harrison (eds.), Civil Histories: Essays Presented to Sir Keith Thomas. OUP Oxford
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  12. Tom Dixon (2000). Penelope Gouk, Music, Science and Natural Magic in Seventeenth-Century England. New Haven and London: Yale University Press, 1999. Pp. XII+308. Isbn 0-300-07383-6. £30.00, $35.00. [REVIEW] British Journal for the History of Science 33 (3):369-379.
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  13. Steve Eardley (1994). Music in Renaissance Magic: Toward a Historiography of OthersGary Tomlinson. Isis 85 (1):147-148.
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  14. Amy Graziano (2004). Penelope Gouk.Music, Science, and Natural Magic in Seventeenth‐Century England. Xii + 308 Pp., Illus., Bibl., Index. New Haven, Conn./London: Yale University Press, 1999. [REVIEW] Isis 95 (2):293-293.
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  15. Bryan W. Monahan (1971). Mystery, Magic, Music and Metaphysics. Sydney,Tidal Publications.
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  16. C. Truesdell (1961). Novalis and Mathematics: A Study of Friedrich von Hardenberg's Fragments on Mathematics and Its Relation to Magic, Music, Religion, Philosophy, Language and Literature by Martin Dyck. [REVIEW] Isis: A Journal of the History of Science 52:606-607.
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  17. C. Truesdell (1961). Novalis and Mathematics: A Study of Friedrich von Hardenberg's Fragments on Mathematics and Its Relation to Magic, Music, Religion, Philosophy, Language and LiteratureMartin Dyck. Isis 52 (4):606-607.
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  18. Laurence Wuidar (ed.) (2010). Music and Esotericism. Brill.
     
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  19.  7
    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 (...)
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  20.  3
    James Wierzbicki (2011). The Postmodern in Music. Semiotica 2011 (183):283-308.
    “Postmodern” is an elusive concept that embraces a wide range of critical theories and attitudes. To borrow the assessment that the American poet Walt Whitman offered of himself, the concept is large and contains multitudes, various aspects of which often seem to be at odds with one another. Postmodern art likewise contains multitudes; indeed, it would seem that one of postmodern art's chief characteristics is the comfortable integration of apparently contradictory stimuli that, importantly, are sited less in the “work” itself (...)
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  21.  13
    Deborah Bradley (2009). Oh, That Magic Feeling! Multicultural Human Subjectivity, Community, and Fascism's Footprints. Philosophy of Music Education Review 17 (1):56-74.
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  22.  11
    Marja Heimonen (2009). Response to Deborah Bradley, “Oh, That Magic Feeling! Multicultural Human Subjectivity, Community, and Fascism's Footprints”. Philosophy of Music Education Review 17 (1):85-89.
  23.  10
    Irving Singer (2010). Mozart and Beethoven: The Concept of Love in Their Operas. The MIT Press.
    Music, language, and drama come together in opera to make a whole that conveys emotional reality. In this book, Irving Singer develops a new mode for understanding and experiencing the operas of Mozart and Beethoven, approaching them not as a musical technician but as a philosopher concerned with their expressive and mythic elements. Using the distinction between the sensuous and the passionate as framework for his discussion, Singer explores not only the treatment of love in these operas but also (...)
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  24. Tom Cochrane (2010). Using the Persona to Express Complex Emotions in Music. Music Analysis 29 (1-3):264-275.
    This article defends a persona theory of musical expressivity. After briefly summarising the major arguments for this view, it applies persona theory to the issue of whether music can express complex emotions. The expression of jealousy is then discussed by analysis of two examples from Piazzolla and Janacek.
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  25.  26
    Gregor Schiemann (2007). Physics and Magic. Disenchanting Nature. In J. Mildorf, U. Seeber & M. Windisch (eds.), Magic, Science, Technology and Literature. Lit
    A widespread view of the natural sciences holds that their historical development was accompanied by a constantly widening gap between them and magic. Originally closely bound up with magic, the sciences are supposed to have distanced themselves from it in a long-drawn-out process, until they attained their present magic-free form. I would like, in this essay, to discuss some arguments in support of this plausible view. To this end, I shall begin with a definition of magical and (...)
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  26.  55
    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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  27.  21
    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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  28. 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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  29. 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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  30. 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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  31. 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 of its own limitations (...)
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  32. 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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  33. 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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  34.  13
    Jerrold Levinson (2016). Music-Specific Emotion: An Elusive Quarry. Estetika: The Central European Journal of Aesthetics 53 (2):115-131.
    Expressive music, almost everyone agrees, evokes an emotional response of some kind in receptive listeners, at least some of the time, in at least some conditions of listening. But is such an emotional response distinctive of or unique to the music that evokes it? In other words, is there such a thing as music-specific emotion? This essay is devoted to an exploration of that question and others related to it. In the main part of the essay a (...)
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  35. 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 environment that further affords (...)
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  36.  67
    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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  37.  87
    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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  38.  88
    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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  39. 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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  40.  69
    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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  41.  72
    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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  42.  70
    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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  43.  61
    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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  44.  63
    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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  45.  13
    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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  46.  13
    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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  47. 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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  48.  36
    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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  49.  61
    John Powell (2012). 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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  50.  47
    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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