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

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  1. Andrew Bowie (2007). Music, Philosophy, and Modernity. Cambridge University Press.score: 90.0
    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. Lewis Eugene Rowell (1983). Thinking About Music: An Introduction to the Philosophy of Music. University of Massachusetts Press.score: 81.0
    Examines the nature of music and traces the history of music philosophy from ancient Greece to the twentieth century.
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  3. Stefan Lorenz Sorgner & Oliver Fürbeth (eds.) (2010). Music in German Philosophy: An Introduction. The University of Chicago Press.score: 81.0
    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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  4. Lydia Goehr (1998/2002). The Quest for Voice: On Music, Politics, and the Limits of Philosophy: The 1997 Ernest Bloch Lectures. Oxford University Press.score: 78.0
    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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  5. Peter Kivy (2002). Introduction to a Philosophy of Music. Clarendon Press.score: 78.0
    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. Stephen Davies (2003). Themes in the Philosophy of Music. Oxford University Press.score: 78.0
    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. Roger Scruton (2009). Understanding Music: Philosophy and Interpretation. Continuum.score: 78.0
    Following his celebrated book The Aesthetics of Music, Scruton explores the fundamental elements that constitute a great piece of music.
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  8. Peter Kivy (1993). The Fine Art of Repetition: Essays in the Philosophy of Music. Cambridge University Press.score: 78.0
    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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  9. Edward A. Lippman (1977). A Humanistic Philosophy of Music. New York University Press.score: 78.0
    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. Ernst Bloch (1985). Essays on the Philosophy of Music. Cambridge University Press.score: 78.0
    This volume contains a selection of essays in translation by the German philosopher and man of letters Ernst Bloch (1885-1977), on the philosophy of music. For Bloch - often simply assimilated to the Marxist tradition, but whose thought shows a strongly individual and idealist cast - music was a primary focus on reflection. His musical knowledge and expertise were of a very high order and he was well acquainted with many of the leading composers and theorists of (...)
     
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  11. Elvira Panaiotidi (2002). What Is Philosophy of Music Education and Do We Really Need It? Studies in Philosophy and Education 21 (3):229-252.score: 75.0
    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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  12. Elizabeth Gould (2011). Feminist Imperative(s) in Music and Education: Philosophy, Theory, or What Matters Most. Educational Philosophy and Theory 43 (2):130-147.score: 75.0
    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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  13. Jerrold Levinson (2009). Philosophy and Music. Topoi 28 (2):119-123.score: 72.0
    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. 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.score: 72.0
    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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  15. Henry Chadwick (1981). Boethius, the Consolations of Music, Logic, Theology, and Philosophy. Oxford University Press.score: 72.0
    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 office under (...)
     
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  16. Lydia Goehr (1992). The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford University Press.score: 69.0
    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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  17. Theodore Gracyk & Andrew Kania (eds.) (2011). The Routledge Companion to Philosophy and Music. Routledge.score: 69.0
    " 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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  18. Peter Kivy (2012). Sounding Off: Eleven Essays in the Philosophy of Music. Oxford University Press.score: 69.0
    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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  19. Lazare Saminsky (1957). Physics and Metaphysics of Music and Essays on the Philosophy of Mathematics. The Hague, M. Nijhoff.score: 69.0
    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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  20. Philip Alperson (ed.) (1987/1994). What is Music?: An Introduction to the Philosophy of Music. Pennsylvania State University Press.score: 66.0
    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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  21. Theodor W. Adorno (2003/1984). Philosophy of Modern Music. Continuum.score: 66.0
    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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  22. Edward Campbell (2010). Boulez, Music and Philosophy. Cambridge University Press.score: 66.0
    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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  23. Hiren Bose (1988). Philosophy in Indian Music. Rupa & Co..score: 66.0
     
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  24. Irène Deliège (ed.) (2000). Musique Contemporaine: Théories Et Philosophie: Textes d'Étude = Contemporary Music: Theories and Philosophy: Working Papers. Escom Publications.score: 66.0
     
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  25. Lawrence Ferrara (1991). Philosophy and the Analysis of Music: Bridges to Musical Sound, Form, and Reference. Greenwood Press.score: 66.0
     
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  26. James F. Harris (1993). Philosophy at 33 1/3 Rpm: Themes of Classic Rock Music. Open Court.score: 66.0
     
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  27. Glen Haydon (1945). Music and Philosophy. S.N.].score: 66.0
     
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  28. Jamie Croy Kassler (2001). Music, Science, Philosophy: Models in the Universe of Thought. Ashgate.score: 66.0
     
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  29. John Christopher Kommalapudi (2010). Philosophy of Indian Music: Contribution of the Trinity. Akansha Pub. House.score: 66.0
     
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  30. Bennett Reimer (1970). A Philosophy of Music Education. Englewood Cliffs, N.J.,Prentice-Hall.score: 66.0
     
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  31. Benjamin M. Korstvedt (2010). Listening for Utopia in Ernst Bloch's Musical Philosophy. Cambridge University Press.score: 58.0
    Bloch's Teppich : an initial approach -- On the genealogy of the Teppich metaphor before Bloch -- The conceptual constellation of Bloch's musical philosophy -- Entering Bloch's musical system -- Wagner's animal lyricism -- Bloch's vision of the armored men, or the limits of enlightenment -- The achievement of symphonic authenticity -- Epilogue : an atheism of presence and absence.
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  32. Andrew Kania, The Philosophy of Music. Stanford Encyclopedia of Philosophy.score: 57.0
    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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  33. Diana Raffman, Music, Philosophy, and Cognitive Science.score: 57.0
    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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  34. David J. Gonzol (2004). Otto Rudolph Ortmann, Music Philosophy, and Music Education. Philosophy of Music Education Review 12 (2):160-180.score: 57.0
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  35. Fadlou Shehadi (1995). Philosophies of Music in Medieval Islam. E.J. Brill.score: 54.0
    This surveys the philosophies of music of the most important thinkers in Islam between the 9th and the 15th centuries A.D. It covers topics ranging from the ...
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  36. Kareem Khalifa (2009). Music, Philosophy, and Modernity (Review). [REVIEW] Journal of the History of Philosophy 47 (3):pp. 481-482.score: 54.0
  37. Wayne D. Bowman (1998). Philosophical Perspectives on Music. Oxford University Press.score: 54.0
    Designed to introduce music students and musicians to the vitality of music philosophical discourse, Philosophical Perspectives on Music explores diverse accounts of the nature and value of music. It offers an accessible, even-handed consideration of philosophical orientations without advocating any single one, demonstrating that there are a number of ways in which music may reasonably be understood. This unique approach examines the strengths and advantages of each perspective as well as its inevitable shortcomings. From the (...)
     
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  38. James O. Young (2011). Roger Scruton , Understanding Music: Philosophy and Interpretation . Reviewed By. Philosophy in Review 31 (1):67-79.score: 54.0
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  39. Jenefer Robinson (ed.) (1997). Music & Meaning. Cornell University Press.score: 51.0
    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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  40. Malcolm Budd (1985). Music and the Emotions: The Philosophical Theories. Routledge & Kegan Paul.score: 51.0
    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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  41. Roger Scruton (1999). The Aesthetics of Music. Oxford University Press.score: 51.0
    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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  42. Bruce Ellis Benson (2003). The Improvisation of Musical Dialogue: A Phenomenology of Music. Cambridge University Press.score: 51.0
    This book is an important contribution to the philosophy of music. Whereas most books in this field focus on the creation and reproduction of music, Bruce Benson's concern is the phenomenology of music making as an activity. He offers the radical thesis that it is improvisation that is primary in the moment of music making. Succinct and lucid, the book brings together a wide range of musical examples from classical music, jazz, early music (...)
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  43. Mark Andrew DeBellis (1995). Music and Conceptualization. Cambridge University Press.score: 51.0
    This book is a philosophical study of the relations between hearing and thinking about music. The central problem it addresses is as follows: how is it possible to talk about what a listener perceives in terms that the listener does not recognise? By applying the concepts and techniques of analytic philosophy the author explores the ways in which musical hearing may be described as nonconceptual, and how such mental representation contrasts with conceptual thought. The author is both philosopher (...)
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  44. Robin Maconie (1997). The Science of Music. Oxford University Press.score: 51.0
    What do Pythagoras, Plato, Newton, and Wittgenstein have in common with Jack and the Beanstalk, David and Goliath, the Hare and the Tortoise, and Formula 1 auto racing? Hearing is the clue, and musical science the answer. In his revolutionary sequel to The Concept of Music (OUP, 1990), Robin Maconie uncovers the hidden role of musical acoustics in the formulation of key concepts of science and philosophy from ancient Greece to modern times.
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  45. J. McKeown-Green (2003). Introduction to a Philosophy of Music. Australasian Journal of Philosophy 81 (3):439 – 440.score: 51.0
    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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  46. Diane Kelsey McColley (1997). Poetry and Music in Seventeenth-Century England. Cambridge University Press.score: 51.0
    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 (...)
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  47. S. Davies (2003). Philosophy, Music and Emotion. Australasian Journal of Philosophy 81 (2):281-283.score: 51.0
    Book Information Philosophy, Music and Emotion. By Geoffrey Madell. Edinburgh University Press. Edinburgh. 2002. Pp. vii + 162. £40.
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  48. Geoffrey Madell (2002). Philosophy, Music and Emotion. Edinburgh University Press.score: 51.0
    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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  49. Berthold Hoeckner (ed.) (2006). Apparitions: New Perspectives on Adorno and Twentieth Century Music. Routledge.score: 51.0
    Apparitions takes a new look at the critical legacy of one of the 20th century's most important and influential thinkers about music, Theodor W. Adorno. Bringing together an international group of scholars, the book offers new historical and critical insights into Adorno's theories of music and how these theories, in turn, have affected the study of contemporary art music, popular music, and jazz. The essays review the impact of Philosophy of New Music a fter (...)
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  50. Joscelyn Godwin (1995). Music and the Occult: French Musical Philosophies, 1750-1950. University of Rochester Press.score: 51.0
     
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