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

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  1.  2
    Lejla Mušić (2007). Philosophy of Art in the Thinking of Ananda Kentish Coomaraswamy. Filozofska Istrazivanja 27 (1):213-234.
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  2. George C. Schuetze (2005). Convergences in Music and Art: A Bibliographic Study. Harmonie Park Press.
    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.  62
    John Dilworth (2002). Four Theories of Inversion in Art and Music. Southern Journal of Philosophy 40 (1):1-19.
    Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works as (...)
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  4.  15
    Malgorzata A. Szyszkowska (2010). Messages in Art and Music: On Route to Understanding Musical Works with Jerrold Levinson. Dialogue and Universalism 20 (3-4):97.
    In his article untitled Messages in Art Jerrold Levinson discusses the idea of a message behind a work of art. He argues that despite certain disclaimers put forward by artists it is „hard to deny that artworks (...) very often do have messages, and far from inexpressible ones”. From given examples it would seem that Levinson assumes that musical work just as other artworks sometimes generate messages and that in order for a work of music to be successful in (...)
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  5. Elizabeth Hoffman (1996). Concepts of Value in Art and Their Reflection in Contemporary Music. Dissertation, University of Washington
    This paper begins with an exploration of terms and models useful for the aesthetic evaluation of works of art. A comparative study of three analytical methodologies, those of Monroe Beardsley, Stefan Morawski, and Immanuel Kant, constitutes chapter 1. Using the categories discussed, analyses are presented in chapters 2-4 of three contemporary music compositions. The final chapter of this paper critically identifies shared aesthetic traits of the three compositions explored earlier.
     
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  6. Jenefer Robinson (2005). Deeper Than Reason: Emotion and its Role in Literature, Music and Art. Oxford University Press Uk.
    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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  7.  28
    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.  4
    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.
    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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  9. Jenefer Robinson (2005). Deeper Than Reason: Emotion and its Role in Literature, Music, and Art. Clarendon Press.
    Jenefer Robinson takes the insights of modern scientific research on the emotions and uses them to illuminate questions about our emotional involvement with the arts. Laying out a theory of emotion supported by the best evidence from current empirical work, she examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone interested in the emotions and how they work, as well as anyone (...)
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  10. 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.
    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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  11. Ruth Katz (2010). A Language of its Own: Sense and Meaning in the Making of Western Art Music. University of Chicago Press.
    The Western musical tradition has produced not only music, but also countless writings about music that remain in continuous—and enormously influential—dialogue with their subject. With sweeping scope and philosophical depth, _A Language of Its Own_ traces the past millennium of this ongoing exchange. Ruth Katz argues that the indispensible relationship between intellectual production and musical creation gave rise to the Western conception of music. This evolving and sometimes conflicted process, in turn, shaped the art form itself. As (...)
     
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  12. Ruth Katz (2013). A Language of its Own: Sense and Meaning in the Making of Western Art Music. University of Chicago Press.
    The Western musical tradition has produced not only music, but also countless writings about music that remain in continuous—and enormously influential—dialogue with their subject. With sweeping scope and philosophical depth, _A Language of Its Own_ traces the past millennium of this ongoing exchange. Ruth Katz argues that the indispensible relationship between intellectual production and musical creation gave rise to the Western conception of music. This evolving and sometimes conflicted process, in turn, shaped the art form itself. As (...)
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  13. 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.
     
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  14. 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.
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  15. 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.
     
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  16.  2
    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.
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  17.  1
    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.
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  18.  99
    K. M. Higgins (2007). Review: Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art. [REVIEW] Mind 116 (461):209-212.
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  19.  85
    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.
  20.  49
    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).
  21.  24
    Susan L. Feagin (2007). Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art (Review). Philosophy and Literature 31 (2):420-422.
  22.  7
    Mary J. Reichling (forthcoming). Susanne Langer's Concept of Secondary Illusion in Music and Art. Journal of Aesthetic Education.
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  23.  2
    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.
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  24. 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.
     
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  25. Ernst Mannheimer (1949). Romanticism in Art and Music. Pacific Philosophical Quarterly 30 (1):45.
     
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  26.  12
    Jerrold Levinson (1990). Music, Art, and Metaphysics: Essays in Philosophical Aesthetics. Cornell University Press.
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  27.  28
    Michael Leslie Klein (2005). Intertextuality in Western Art Music. Indiana University Press.
    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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  28.  1
    Kenneth J. De Woskin (1985). A Song for One or Two: Music and the Concept of Art in Early China. Philosophy East and West 35 (2):219-221.
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  29. 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
     
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  30. J. Kunst (1978). Making Sense in Music: An Enquiry Into the Formal Pragmatics of Art. Communication & Cognition.
     
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  31. 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.
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  32.  24
    William Fleming (1946). The Element of Motion in Baroque Art and Music. Journal of Aesthetics and Art Criticism 5 (2):121-128.
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  33.  4
    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
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  34.  3
    Ronald E. Roblin (1994). Jerrold Levinson., Music, Art, and Metaphysics: Essays in Philosophical Aesthetics. International Studies in Philosophy 26 (2):132-133.
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  35. 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.
     
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  36.  3
    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.
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  37. Garry Hagberg (1993). Jerrold Levinson, Music, Art, & Metaphysics: Essays in Philosophical Aesthetics Reviewed By. Philosophy in Review 13 (6):325-327.
     
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  38.  6
    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.
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  39.  19
    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.
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  40.  5
    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.
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  41.  8
    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.
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  42.  5
    Averil Cameron & A. R. Littlewood (1997). Originality in Byzantine Literature, Art and Music. A Collection of Essays. Journal of Hellenic Studies 117:266.
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  43.  11
    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.
  44.  4
    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.
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  45.  1
    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.
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  46.  1
    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.
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  47.  2
    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.
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  48.  4
    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-.
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  49.  2
    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-.
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  50. C. Stephen Jaeger (ed.) (2010). Magnificence and the Sublime in Medieval Aesthetics: Art, Architecture, Literature, Music. Palgrave Macmillan.
     
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