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

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  1.  61
    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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  2.  30
    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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  3.  25
    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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  4.  12
    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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  5. 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 (...)
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  6.  27
    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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  7.  24
    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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  8.  62
    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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  9.  3
    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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  10.  36
    Elvira Panaiotidi (2002). What Is Philosophy of Music Education and Do We Really Need It? Studies in Philosophy and Education 21 (3):229-252.
    The article deals with the problem of the disciplinary identification of thephilosophy of music education. It explores alternative approaches to thephilosophy of music education and its relation to musical pedagogy. On thebasis of this analysis an account of the philosophy of music education as aphilosophical discipline is suggested and its specific function identified.
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  11.  39
    Elizabeth Gould (2011). Feminist Imperative(s) in Music and Education: Philosophy, Theory, or What Matters Most. Educational Philosophy and Theory 43 (2):130-147.
    A historically feminized profession, education in North America remains remarkably unaffected by feminism, with the notable exception of pedagogy and its impact on curriculum. The purpose of this paper is to describe characteristics of feminism that render it particularly useful and appropriate for developing potentialities in education and music education. As a set of flexible methodological tools informed by Gilles Deleuze's notions of philosophy and art, I argue feminism may contribute to education's becoming more efficacious, reflexive, and reflective (...)
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  12. Steven Burns (2015). Peter Kivy , Sounding Off: Eleven Essays in the Philosophy of Music . Reviewed By. Philosophy in Review 35 (2):88-90.
    A brief review of Peter Kivy's collection of eleven essays on Philosophy of Music.
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  13. 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 (...)
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  14. Henry Chadwick (1981). Boethius, the Consolations of Music, Logic, Theology, and Philosophy. Oxford University Press.
    The Consolations of Philosophy by Boethius, whose English translators include King Alfred, Geoffrey Chaucer, and Queen Elizabeth I, ranks among the most remarkable books to be written by a prisoner awaiting the execution of a tyrannical death sentence. Its interpretation is bound up with his other writings on mathematics and music, on Aristotelian and propositional logic, and on central themes of Christian dogma. -/- Chadwick begins by tracing the career of Boethius, a Roman rising to high (...)
     
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  15.  15
    Kareem Khalifa (2009). Music, Philosophy, and Modernity (Review). [REVIEW] Journal of the History of Philosophy 47 (3):pp. 481-482.
    "Philosophy of music" is generally regarded as philosophical theorizing about music. Interpreting various German thinkers from the last three centuries through hermeneutical and neo-pragmatist lenses, Bowie reverses this order, focusing "on the philosophy which is conveyed by music itself" . In particular, Bowie uses music as a starting point for philosophical reflections on meaning and the role of philosophy in late modernity.Regarding meaning, Bowie uses ideas about music to argue that semantics should (...)
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  16.  9
    Konstantin V. Zenkin (2004). On the Religious Foundations of A.F. Losev's Philosophy of Music. Studies in East European Thought 56 (2-3):161-172.
    The article considers A.F. Losev''s philosophy of music in the context ofhis entire religious worldview and as the part of hisChristian-Neoplatonic philosophy. Synthesizing Pythagorean-Platonic andRomantic musical doctrines, Losev concludes: music is the expression ofthe life of numbers, a meonic-hyletic element that rages inside numericconstructions. So it is necessary to analyse the concept of number inthe system of Neoplatonic thought. In the Neoplatonic hierarchy of theuniverse both numeric sphere and music are located at the source of (...)
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  17. Béla Szabados (2014). Wittgenstein as Philosophical Tone-Poet: Philosophy and Music in Dialogue. Editions Rodopi.
    This book provides the first in-depth exploration of the importance of music for Ludwig Wittgenstein’s life and work. Wittgenstein’s remarks on music are essential for understanding his philosophy: they are on the nature of musical understanding, the relation of music to language, the concepts of representation and expression, on melody, irony and aspect-perception, and, on the great composers belonging to the Austrian-German tradition. Biography and philosophy, this work suggests that Wittgenstein was a composer of (...) who used the musical form as a blueprint for his own writing and thought. For Wittgenstein music is not alone, but connects and resonates with our cultural forms of life. His relation to composers, especially to Richard Wagner and Gustav Mahler, enables Wittgenstein to address the question of how to do philosophy and compose music in the breakdown of tradition. Unlike his conservative musical sensibility, Wittgenstein’s philosophy is open to musical experiments. Reflecting on his remarks on music makes it possible to compare the therapeutic aim of his philosophical activity with that of music, and thus notice affinities between Wittgenstein and John Cage. Béla Szabados has a Ph.D. in philosophy from the University of Calgary and is professor of philosophy at the University of Regina. His publications include Wittgenstein Reads Weininger (2004), Wittgenstein at the Movies (2011) and Wittgenstein on Race, Gender, and Cultural Identity: Philosophy as a Personal Endeavour (2010). (shrink)
     
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  18.  51
    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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  19.  40
    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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  20.  6
    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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  21. 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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  22.  46
    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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  23.  12
    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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  24.  54
    Bennett Reimer (1970). A Philosophy of Music Education. Englewood Cliffs, N.J.,Prentice-Hall.
  25. Lawrence Ferrara (1991). Philosophy and the Analysis of Music: Bridges to Musical Sound, Form, and Reference. Greenwood Press.
     
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  26. 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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  27.  5
    Ernst Bloch (1985). Essays on the Philosophy of Music. Cambridge University Press.
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  28. Hiren Bose (1988). Philosophy in Indian Music. Rupa & Co..
     
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  29. 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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  30. James F. Harris (1993). Philosophy at 33 1/3 Rpm: Themes of Classic Rock Music. Open Court.
     
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  31. Glen Haydon (1945). Music and Philosophy. S.N.].
     
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  32. Jamie Croy Kassler (2001). Music, Science, Philosophy: Models in the Universe of Thought. Ashgate.
     
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  33. John Christopher Kommalapudi (2010). Philosophy of Indian Music: Contribution of the Trinity. Akansha Pub. House.
     
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  34. Diana Raffman, Music, Philosophy, and Cognitive Science.
    Philosophers of music (and also music theorists) have recognized for a long time that research in the sciences, especially psychology, might have import for their own work. (Langer 1941 and Meyer 1956 are good examples.) However, while scientists had been interested in music as a subject of research (e.g., Helmholtz 1912, Seashore 1938), the discipline known as psychology of music, or more broadly cognitive science of music, came into its own only around 1980 with the (...)
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  35.  4
    David J. Gonzol (2004). Otto Rudolph Ortmann, Music Philosophy, and Music Education. Philosophy of Music Education Review 12 (2):160-180.
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  36.  2
    James O. Young (2011). Roger Scruton , Understanding Music: Philosophy and Interpretation . Reviewed By. Philosophy in Review 31 (1):67-79.
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  37. Frederick Ahl, Bonnie Maclachlan & Robert W. Wallace (1991). Harmonia Mundi Musica E Filosofia Nell'antichità = Music and Philosophy in the Ancient World. Edizioni Dell'ateneo.
     
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  38. Max Gottschlich (2002). Musik und Philosophie. Zur Frage einer philosophischen Grundlegung der Musikwissenschaft [Philosophy and Music. On the Philosophical Foundation of Musicology]. In Martin Czernin (ed.), Gedenkschrift für Walter Pass. Schneider 35 – 48.
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  39. 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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  40.  7
    Aaron Ridley (2004). The Philosophy of Music Theme and Variations. Monograph Collection (Matt - Pseudo).
    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 (...)
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  41. 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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  42. R. A. Sharpe (2004). Philosophy of Music: An Introduction. Routledge.
    This lively and lucid introduction to the philosophy of music concentrates on the issues that illuminate musical listening and practice. It examines the conceptual debates relevant to the understanding and performing of music and grounds the philosophy to practical matters throughout. Ideal for a beginning readership with little philosophical background, the author provides an overview of the central debates enlivened by a real sense of enthusiasm for the subject and why it matters. The book begins by (...)
     
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  43.  5
    Geoffrey Madell (2002). Philosophy, Music and Emotion. Edinburgh University Press.
    Philosophy, Music and Emotion explores two contentious issues in contemporary philosophy: the nature of music´s power to express emotion, and the nature of emotion itself. It shows how closely the two are related and provides a radically new account of what it means to say that music "expresses emotion." Geoffrey Madell maintains that most current accounts of musical expressiveness are fundamentally misguided. He attributes this fact to the influence of a famous argument of the nineteenth-century (...)
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  44. Kareem Khalifa (unknown). Music, Philosophy, and Modernity : BowieAndrew,1952-Music, Philosophy, and Modernity. [REVIEW] Journal of the History of Philosophy 47 (3):481-482.
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  45. W. Luedemann (1999). Music as a Way of Knowing: Tentative Steps Towards Extending the Boundaries of Traditional Music Philosophy. South African Journal of Philosophy 18 (1):41-60.
     
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  46. James Young (2011). Roger Scruton, Understanding Music: Philosophy and Interpretation. [REVIEW] Philosophy in Review 31:67-69.
     
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  47.  13
    S. Davies (2003). Philosophy, Music and Emotion. Australasian Journal of Philosophy 81 (2):281-283.
    Book Information Philosophy, Music and Emotion. By Geoffrey Madell. Edinburgh University Press. Edinburgh. 2002. Pp. vii + 162. £40.
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  48.  10
    J. McKeown-Green (2003). Introduction to a Philosophy of Music. Australasian Journal of Philosophy 81 (3):439 – 440.
    Book Information Introduction to a Philosophy of Music. By Peter Kivy. Clarendon Press. Oxford. 2002. Pp. xii + 283. Hardback, 45. Paperback, 14.99.
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  49.  4
    James Currie (2008). Review of Andrew Bowie, Music, Philosophy, and Modernity. [REVIEW] Notre Dame Philosophical Reviews 2008 (6).
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  50.  1
    G. Dammann (2008). Music, Philosophy, and Modernity. British Journal of Aesthetics 48 (4):459-461.
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