Search results for 'Music in art' (try it on Scholar)

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  1. Lejla Mušić (2007). Philosophy of Art in the Thinking of Ananda Kentish Coomaraswamy. Filozofska Istrazivanja 27 (1):213-234.score: 1890.0
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  2. George C. Schuetze (2005). Convergences in Music and Art: A Bibliographic Study. Harmonie Park Press.score: 651.0
    Artists inspired by music and musicians -- Composers inspired by art and artists -- Twin talents : artist-musicians and musician-artists -- Musicians pose for the artists : a history of portrait iconography.
     
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  3. Ellen Handler Spitz (2014). Snapshots of Childhood Creativity in Science, Music, and Art: Richard Feynman, Clara Schumann, and René Magritte. Journal of Aesthetic Education 47 (4):1-13.score: 516.0
    This essay is prompted, in part, by a spate of alarmist articles in the media over the past several years concerning what journalists have called "the creativity crisis,"2 articles claiming, in other words, that American creativity is in decline. A corresponding call has arisen to seek remedies and determine how creativity might be fostered in the lives of children so as to stem the tide of this (alleged) decline. While taking these dramatic concerns and pronouncements cum grano salis, this article (...)
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  4. Jenefer Robinson (2007). Deeper Than Reason: Emotion and its Role in Literature, Music, and Art. Clarendon Press.score: 516.0
    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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  5. Peter Kivy (1993). The Fine Art of Repetition: Essays in the Philosophy of Music. Cambridge University Press.score: 510.0
    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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  6. Margaret A. Nash (2013). Cultivating Our “Musical Bumps” While Fighting the “Progress of Popery”: The Rise of Art and Music Education in the Mid-Nineteenth Century United States. Educational Studies 49 (3):193-212.score: 492.0
    This article seeks to understand the social and cultural factors that led to the introduction of music and art education in public schools, a process that began in the middle decades of the nineteenth century. Based on archival material, including institutional catalogues, school board reports, magazine articles, and tracts, I demonstrate that music and art held varied meanings in this period, one of the most important of which was denominational competition. One major element in a nationwide promotion of (...)
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  7. P. Mew (1988). The Expression of Feeling in Music in Art and Philosophy: Mutual Connections and Inspirations. Dialectics and Humanism 15 (1-2):205-217.score: 450.0
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  8. Thomas Adajian (2006). Visual Music: Synaesthesia in Art and Music Since 1900 Edited by Brougher, Kerry, Olivia Mattis, Jeremy Strick, Ari Wiseman and Judith Zilczer. Journal of Aesthetics and Art Criticism 64 (4):488–489.score: 444.0
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  9. Joakim Tillman (2002). Postmodernism and Art Music in the German Debate. In Judith Irene Lochhead & Joseph Henry Auner (eds.), Postmodern Music/Postmodern Thought. Routledge. 75.score: 444.0
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  10. 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: 444.0
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  11. Erum Naqvi (2012). T Ea Ching Practices in Persian Art Music. In Wayne D. Bowman & Ana Lucía Frega (eds.), The Oxford Handbook of Philosophy in Music Education. Oup Usa. 180.score: 441.0
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  12. 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: 435.0
  13. 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: 435.0
  14. 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: 435.0
  15. K. M. Higgins (2007). Review: Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art. [REVIEW] Mind 116 (461):209-212.score: 435.0
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  16. John Dilworth (2002). Four Theories of Inversion in Art and Music. Southern Journal of Philosophy 40 (1):1-19.score: 435.0
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  17. Mary J. Reichling (forthcoming). Susanne Langer's Concept of Secondary Illusion in Music and Art. Journal of Aesthetic Education.score: 435.0
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  18. Małgorzata A. Szyszkowska (2013). Messages in Art and Music. Dialogue and Universalism 20 (3/4):97-109.score: 435.0
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  19. Cynthia J. Cyrus (2009). Judith H. Oliver, Singing with Angels: Liturgy, Music, and Art in the Gradual of Gisela von Kerssenbrock. Turnhout: Brepols, 2007. Pp. Viii, 384; 44 Color Plates, 124 Black-and-White Figures, and Tables. €120. [REVIEW] Speculum 84 (2):475-477.score: 435.0
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  20. Patricia Fortini Brown (2012). Part I-The Visual Dimension-1 Seduction and Spirituality: The Ambiguous Roles of Music in Venetian Art. Proceedings of the British Academy 176:19.score: 435.0
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  21. Malgorzata A. Szyszkowska (2010). Messages in Art and Music: On Route to Understanding Musical Works with Jerrold Levinson. Dialogue and Universalism 20 (3):97.score: 435.0
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  22. Michael Leslie Klein (2005). Intertextuality in Western Art Music. Indiana University Press.score: 432.0
    Eco, Chopin, and the limits of intertextuality -- The appeal to structure -- On codes, topics, and leaps of interpretation -- Bloom, Freud, and Riffaterre : influence and intertext as signs of the uncanny -- Narrative and intertext : the logic of suffering in Lutosawski's Symphony no. 4.
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  23. Laura Ahonen & Home Studio Aesthetics : Tracking Cultural Processes of Popular Music Production (2006). Music and Technology. Virtuality and Metadesign : Sound Art in the Age of Connectivity / Paulo C. Chagas ; "When New Media Was the Big Idea" : Internet and the Rethinking of Pop-Music Languages / Gianni Sibilla ; Mediated Stardom, Constructed Images : The Value and Functioning of Authorship in Popular Music. In Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.), Music, Meaning and Media. University of Helsinki.score: 423.0
     
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  24. J. Kunst (1978). Making Sense in Music: An Enquiry Into the Formal Pragmatics of Art. Communication & Cognition.score: 423.0
     
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  25. William Fleming (1946). The Element of Motion in Baroque Art and Music. Journal of Aesthetics and Art Criticism 5 (2):121-128.score: 414.0
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  26. Betty Anne Younker (2008). Estelle R. Jorgensen, The Art of Teaching Music (Bloomington, IN: Indiana University Press, 2008). Philosophy of Music Education Review 16 (1):109-115.score: 414.0
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  27. F. G. Asenjo (1971). The Crisis in Western Music and the Human Roots of Art. Journal of Aesthetics and Art Criticism 29 (4):529-535.score: 414.0
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  28. Frederik Pio (forthcoming). Music Education and 'the Mall'as 'Debased Work of Art'(Dreyfus): Heidegger's Technical Rationality in a Musical Sense. Philosophy of Music Education Review.score: 414.0
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  29. Ronald E. Roblin (1994). Jerrold Levinson., Music, Art, and Metaphysics: Essays in Philosophical Aesthetics. International Studies in Philosophy 26 (2):132-133.score: 414.0
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  30. Emmanuel Bigand & Bénédicte Poulin-Charronnat (2008). THEterm Tonal Music Can Be Applied to a Large Variety of Musical Styles in the West. This Includes That of the Four Periods (Baroque, Classical, Romantic, and Modern) Into Which Western Art-Music is Commonly Divided, as Well as Other Musical Styles From Popular. In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oup Oxford.score: 414.0
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  31. Garry Hagberg (1993). Jerrold Levinson, Music, Art, & Metaphysics: Essays in Philosophical Aesthetics Reviewed By. Philosophy in Review 13 (6):325-327.score: 414.0
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  32. Thomas Huhn (1994). Peter Kivy, The Fine Art of Repetition: Essays in the Philosophy of Music Reviewed By. Philosophy in Review 14 (3):175-177.score: 414.0
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  33. C. Stephen Jaeger (ed.) (2010). Magnificence and the Sublime in Medieval Aesthetics: Art, Architecture, Literature, Music. Palgrave Macmillan.score: 411.0
     
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  34. Roger Scruton, Peter Kivy, Jerrold Levinson, Malcolm Budd, Diana Raffman & Lydia Goehr (1994). Recent Books in the Philopshy of MusicMusic Alone: Philosophical Reflections on the Purely Musical Experience.Sound and Semblance: Reflections on Musical Representation.The Fine Art of Repetition: Essays in the Philosophy of Music.Music, Art and Metaphysics: Essays in Philosophical Aesthetics.Music and the Emotions: The Philosophical Theories.Language, Music and Mind.The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. [REVIEW] Philosophical Quarterly 44 (177):503.score: 405.0
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  35. 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: 405.0
  36. Frank Palmer (2005). The Aesthetics of Music By Roger Scruton Clarendon Press, Oxford, Paperback 1999,£ 16.00 One of the Fundamental Problems in the Philosophy of Art Lies in the Char. [REVIEW] Philosophy 80.score: 405.0
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  37. Alan E. Knight (1985). Peter Meredith and John E. Tailby, Eds., Raffaella Ferrari, Peter Meredith, Lynette R. Muir, Margaret Sleeman, and John E. Tailby, Transs., The Staging of Religious Drama in Europe in the Late Middle Ages: Texts and Documents in English Translation. (Early Drama, Art, and Music Monographs, 4.) Kalamazoo: Medieval Institute Publications, 1983. Pp. 301; Drawing in Endpaper Flap. $24.95 (Cloth); $14.95 (Paper). [REVIEW] Speculum 60 (4):998-1001.score: 405.0
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  38. Dimitrios Yatromanolakis (2009). Art and Archaeology (S.) Bundrick Music and Image in Classical Athens. Cambridge and New York: Cambridge University Press, 2005. Pp. 272, Illus. £50. 9780521848060. [REVIEW] Journal of Hellenic Studies 129:223-.score: 405.0
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  39. Averil Cameron & A. R. Littlewood (1997). Originality in Byzantine Literature, Art and Music. A Collection of Essays. Journal of Hellenic Studies 117:266.score: 405.0
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  40. Paul Dumouchel (1997). The Fine Art of Repetition: Essays in the Philosophy of Music Peter Kivy New York: Cambridge University Press, 1993, X + 373 Pp. [REVIEW] Dialogue 36 (02):416-.score: 405.0
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  41. Barbara D. Palmer (1994). Clifford Davidson, Illustrations of the Stage and Acting in England to 1580.(Early Drama, Art, and Music Monograph Series, 16.) Kalamazoo, Mich.: Medieval Institute Publications, Western Michigan University, 1991. Pp. Xviii, 176; 166 Black-and-White Illustrations. $39.95 (Cloth); $19.95 (Paper). [REVIEW] Speculum 69 (1):125-127.score: 405.0
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  42. Gail McMurray Gibson (1990). Clifford Davidson, Ed., The Saint Play in Medieval Europe.(Early Drama, Art, and Music Monograph Series, 8.) Kalamazoo, Mich.: Medieval Institute Publications, 1986. Pp. X, 269; Black-and-White Facsimile Frontispiece, 19 Plates. $25.95 (Cloth); $15.95 (Paper). [REVIEW] Speculum 65 (2):387-389.score: 405.0
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  43. Adam Knight Gilbert (2007). Timothy J. McGee, Ed., Improvisation in the Arts of the Middle Ages and Renaissance. (Early Drama, Art, and Music, Monograph Series, 30.) Kalamazoo, Mich.: Western Michigan University Press, 2003. Pp. Xii, 331; Black-and-White Figures, Tables, and Musical Examples. [REVIEW] Speculum 82 (2):463-466.score: 405.0
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  44. Jerrold Levinson (1990). Music, Art, and Metaphysics: Essays in Philosophical Aesthetics. Cornell University Press.score: 405.0
     
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  45. Ann Eljenholm Nichols (1993). Cherrell Guilfoyle, Shakespeare's Play Within Play: Medieval Imagery and Scenic Form in “Hamlet,”“Othello,” and “King Lear.” Foreword by Clifford Davidson.(Early Drama, Art, and Music Monograph Series, 12.) Kalamazoo, Mich.: Medieval Institute Publications, Western Michigan University, 1990. Pp. Xi, 159. $22.95 (Cloth); $12.95 (Paper). [REVIEW] Speculum 68 (2):510-511.score: 405.0
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  46. S. A6 Suvakovic (2002). MiSko (Faculty Music, U Belgrade), The Limits of Discourse: A Lecture on the Relationship Between" Theory,"" Art" and" Body" in the XX Century. Filozofski Vestnik 23 (2):63-73.score: 405.0
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  47. Daniel Albright (2000). Untwisting the Serpent: Modernism in Music, Literature, and Other Arts. University of Chicago Press.score: 390.0
    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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  48. Julius Portnoy (1973). Music in the Life of Man. Westport, Conn.,Greenwood Press.score: 390.0
     
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  49. Charles Bernheimer (2002). Decadent Subjects: The Idea of Decadence in Art, Literature, Philosophy, and Culture of the Fin De Siècle in Europe. Johns Hopkins University Press.score: 375.0
    Charles Bernheimer described decadence as a "stimulant that bends thought out of shape, deforming traditional conceptual molds." In this posthumously published work, Bernheimer succeeds in making a critical concept out of this perennially fashionable, rarely understood term. Decadent Subjects is a coherent and moving picture of fin de siècle decadence. Mature, ironic, iconoclastic, and thoughtful, this remarkable collection of essays shows the contradictions of the phenomenon, which is both a condition and a state of mind. In seeking to show why (...)
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  50. Kathi Meyer-Baer (1970/1984). Music of the Spheres and the Dance of Death: Studies in Musical Iconology. Da Capo Press.score: 360.0
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