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  1. Peter Kivy (forthcoming). It's Only Music: So What's to Understand? Journal of Aesthetic Education.
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  2. Peter Kivy (forthcoming). Listening: A Response to Alperson, Davies, and Howard. Journal of Aesthetic Education.
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  3. Peter Kivy (forthcoming). Music and the Liberal Education. Journal of Aesthetic Education.
     
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  4. Peter Kivy (2013). Genius and the Creative Imagination. In James A. Harris (ed.), The Oxford Handbook of British Philosophy in the Eighteenth Century. Oxford University Press. 468.
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  5. Peter Kivy (2013). Realistic Song in the Movies. Journal of Aesthetics and Art Criticism 71 (1):75-80.
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  6. Peter Kivy (2012). Authorial Intention and the Pure Musical Parameters. Royal Institute of Philosophy Supplement 71:33-50.
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  7. 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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  8. Peter Kivy (2011). Antithetical Arts: On the Ancient Quarrel Between Literature and Music. OUP Oxford.
    Antithetical Arts constitutes a defence of musical formalism against those who would put literary interpretations on the absolute music canon. In Part I, the historical origins of both the literary interpretation of absolute music and musical formalism are laid out. In Part II, specific attempts to put literary interpretations on various works of the absolute music canon are examined and criticized. Finally, in Part III, the question is raised as to what the human significance of absolute music is, if it (...)
     
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  9. Peter Kivy (2011). Once-Told Tales: An Essay in Literary Aesthetics. Wiley-Blackwell.
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  10. Peter Kivy (2011). Paraphrasing Poetry (for Profit and Pleasure). Journal of Aesthetics and Art Criticism 69 (4):367-377.
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  11. Peter Kivy (2011). Remarks on the Varieties of Prejudice in Hume's Essay on Taste. Journal of Scottish Philosophy 9 (1):111-114.
    The last of Hume's five requirements of the ‘‘true judge in the finer arts’’, is that he be ‘‘cleared of all prejudice……'. I argue here that, lurking in this innocuous-sounding requirement of the true judge, is a complexity that reveals a significant tension in Hume's argument. It is that tension that I want briefly to explore.
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  12. Peter Kivy (2010). Como falsificar uma obra musical? Critica.
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  13. Peter Kivy (2010). Filosofia da música. Critica.
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  14. Peter Kivy (2010). Monroe Remembered: Aesthetics: Problems in the Philosophy of Criticism on its Fiftieth Anniversary. Journal of Aesthetic Education 44 (1):p. 1.
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  15. Peter Kivy (2010). The Experience of Reading. In Garry Hagberg & Walter Jost (eds.), A Companion to the Philosophy of Literature. Wiley-Blackwell.
     
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  16. Peter Kivy (2010). Thinking of Others: On the Talent for Metaphor by Cohen, Ted. Journal of Aesthetics and Art Criticism 68 (1):61-64.
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  17. Peter Kivy, Noël Carroll, Susan L. Feagin, Donald Crawford, Richard Shusterman, Estelle R. Jorgensen, Haroldo Abraam Fontaine, Christopher Perricone, Michael Weh & Sk Wertz (2010). 1. Front Matter Front Matter (Pp. Iv). Journal of Aesthetic Education 44 (1).
     
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  18. Peter Kivy (2009). The Other Shoe: Some Thoughts for Christopher Peacocke. British Journal of Aesthetics 49 (3):283-287.
    I suggest in this paper that Professor Peacocke has given an elegant and, it seems to me, successful account of how we hear in music, metaphorically, various extra-musical properties, among them the much vexed expressive ones. I argue that what Peacocke now must do, as the next step in his project, is to tackle the normative question of when, particularly in the case of absolute music, we are justified in hearing in the music what, on his account, we can hear (...)
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  19. Peter Kivy (2009). Fictional Form and Symphonic Structure: An Essay in Comparative Aesthetics. Ratio 22 (4):421-438.
    It is agreed on all hands that both fictional narratives and the familiar genres of classical music possess an inner structure that both can be perceived and be appreciated aesthetically. It is my argument here that this inner structure plays a crucially different role in fictional narrative than it does in classical music, confining myself here to 'absolute music' (which is to say, pure instrumental music without text, programme, dramatic setting, or other 'extra-musical' content). The argument, basically, is that whereas (...)
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  20. Peter Kivy (2009). Musical morality. Revue Internationale de Philosophie 4:397-412.
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  21. Peter Kivy (2009). Mozart's Skull. The Harvard Review of Philosophy 16 (1):10-22.
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  22. Peter Kivy (ed.) (2008). Blackwell Guide to Aesthetics. Wiley-Blackwell.
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  23. Peter Kivy (2008). The Performance of Reading: An Essay in the Philosophy of Literature. Wiley-Blackwell.
    Kivy makes the case for a deeper understanding and appreciation of literary works by suggesting that readers are performers of the works they read, their performances recitations to the “inner ear.”.
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  24. peter kivy (2007). Moodology: A Response to Laura Sizer. Journal of Aesthetics and Art Criticism 65 (3):312–318.
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  25. peter kivy (2007). Moodophilia: A Response to Noël Carroll and Margaret Moore. Journal of Aesthetics and Art Criticism 65 (3):323–329.
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  26. Peter Kivy (2007). Music, Language, and Cognition: And Other Essays in the Aesthetics of Music. Oxford University Press.
    I. History. Mainwaring's Handel : its relation to British aesthetics -- Herbert Spencer and a musical dispute -- II. Opera and film. Handel's operas : the form of feeling and the problem of appreciation -- Anti-semitism in Meistersinger? -- Speech, song, and the transparency of medium : on operatic metaphysics -- III. Performance. On the historically informed performance -- Ars perfecta : toward perfection in musical performance? -- IV. Interpretation. Another go at the meaning of music : Koopman, Davies, and (...)
     
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  27. Peter Kivy (2007). The Perception of Beauty in Hutcheson's First Inquiry: A Response To James Shelley. British Journal of Aesthetics 47 (4):416-431.
    James Shelley argues that the perception of beauty, as Hutcheson characterizes it, in the first of the two treatises that comprise the Inquiry into the Original of our Ideas of Beauty and Virtue, that is, the Inquiry Concerning Beauty, Order, Harmony, Design, is not what I called in The Seventh Sense, ‘non-epistemic’ perception but, rather, ‘epistemic’ perception through and through. Having studied Shelley's arguments with care, and consulted the relevant primary sources yet again, I am still convinced that (...)
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  28. Peter Kivy (2006). Ars Perfecta: Toward Perfection in Musical Performance? British Journal of Aesthetics 46 (2):111-132.
    Is there such a thing as the perfect performance of a musical work? It is the thesis of this paper that there is not. The thesis is advanced as the implication or concomitant of an already developed view of musical performance in the Western tradition, outlined in my book, Authenticities (1995).
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  29. Peter Kivy (2006). Critical Study: Deeper Than Emotion. British Journal of Aesthetics 46 (3):287-311.
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  30. Peter Kivy (2006). Mood and Music: Some Reflections for Noël Carroll. Journal of Aesthetics and Art Criticism 64 (2):271–281.
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  31. Peter Kivy (2004). 11 Reid's Philosophy of Art. In Terence Cuneo Rene van Woudenberg (ed.), The Cambridge Companion to Thomas Reid. Cambridge University Press. 267.
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  32. Peter Kivy (ed.) (2004). The Blackwell Guide to Aesthetics. Blackwell Pub..
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  33. Peter Kivy (2003). Another Go at Musical Profundity: Stephen Davies and the Game of Chess. British Journal of Aesthetics 43 (4):401-411.
    I have argued previously that the art of absolute music, unlike, for example, the art of literature, is not capable of profundity, which I characterized as treating a profound subject matter, at the highest artistic level, in a manner appropriate to its profundity. Stephen Davies has recently argued that there is another way of being profound, which he calls non-propositional profundity, and for which chess provides his principal example. He argues, further, that absolute music also exhibits this non-propositional profundity. I (...)
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  34. Peter Kivy (2003). Jokes Are a Laughing Matter. Journal of Aesthetics and Art Criticism 61 (1):5-15.
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  35. Peter Kivy (2003). The Seventh Sense: Francis Hutcheson and Eighteenth-Century British Aesthetics. Oxford University Press.
    Now reissued with substantial new material, The Seventh Sense is the definitive study of the aesthetic theory of the great eighteenth-century philosopher Frances Hutcheson, and its huge influence on British aesthetics. Peter Kivy's book is a seminal work on early modern aesthetics, and has been much in demand since going out of print some years ago; this new edition brings the book up to date with the addition of eight essays that Kivy has written on the subject since 1976.
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  36. Peter Kivy (2002). Intentional Forgeries and Accidental Versions: A Response to John Dilworth. British Journal of Aesthetics 42 (4):419-422.
    How to Forge a Musical Work’, I argue that the best way to view an attempted forgery of a lost autograph that accidentally duplicates the lost original is as a ‘version’, not a ‘forgery’, although I acknowledge the plausibility of Jerrold Levinson's alternate view, that it remains a forgery nevertheless. John Dilworth, in his article, ‘A Representational Theory of Artefacts and Artworks’, defends Levinson's ‘intuition’ against mine. In the present article I argue that our ‘intuitions’ here are divided, as they (...)
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  37. 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 fascinating questions and ideas.
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  38. Peter Kivy (2002). On the Historically Informed Performance. British Journal of Aesthetics 42 (2):128-144.
    After the publication of my book Authenticities in 1995 I began toreceive criticisms of it based on the growing currency of the phrase ‘the historically informed performance’, which was supposed to be describing a kind of musical performance that differed significantly from the kind that had been known previously as the ‘historically authentic performance’ and which had been the object of my critique in the book. The argument was that the historically informed performance was different enough from the historically authentic (...)
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  39. Peter Kivy (2002). Versions and "Versions," Forgeries and "Forgeries": A Response to Kirk Pillow. Journal of Aesthetics and Art Criticism 60 (2):180-182.
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  40. Peter Kivy (2001). New Essays on Musical Understanding. Clarendon.
    Peter Kivy presents a selection of his new and recent writings on the philosophy of music--an area to which he has been one of the most eminent contributors. In his distinctively elegant and informal style, Kivy explores such topics as musicology and its history, the nature of musical works, and the role of emotion in music, and does so in a way that will attract the interest of philosophical and musical readers alike. Most works are published here for the first (...)
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  41. Peter Kivy (2000). How to Forge a Musical Work. Journal of Aesthetics and Art Criticism 58 (3):233-235.
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  42. Peter Kivy (1999). Feeling the Musical Emotions. British Journal of Aesthetics 39 (1):1-13.
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  43. Peter Kivy (1999). Music in the Movies: A Philosophical Enquiry. In Richard Allen & Murray Smith (eds.), Film Theory and Philosophy. Oup Oxford.
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  44. Peter Kivy (1997). Philosophies of Arts: An Essay in Differences. Cambridge University Press.
    Since the beginning of the eighteenth century the philosophy of art has been engaged on the project of trying to find out what the fine arts have in common and, thus, how they might be defined. Peter Kivy's purpose in this accessible and lucid book is to trace the history of that enterprise and argue that the definitional project has been unsuccessful. He offers a fruitful change of strategy: instead of engaging in an obsessive quest for sameness, let us explore (...)
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  45. Peter Kivy (1995). Authenticities: Philosophical Reflections on Musical Performance. Cornell University Press.
    "In his latest book on the aesthetics of music, Peter Kivy presents an argument not for authenticity but for authenticities of performance, including ...
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  46. Peter Kivy (1995). Stephen Davies: Musical Meaning and Expression. Mind 104 (416):896-900.
  47. Peter Kivy (1995). The "Sense" of Beauty and the Sense of "Art": Hutcheson's Place in the History and Practice of Aesthetics. Journal of Aesthetics and Art Criticism 53 (4):349-357.
  48. Peter Kivy (1994). Armistice, but No Surrender: Davies on Kivy. Journal of Aesthetics and Art Criticism 52 (2):236-237.
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  49. Peter Kivy (1994). Book Reviews. [REVIEW] Mind 103 (411):395-400.
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  50. Peter Kivy (1994). Speech, Song, and the Transparency of Medium: A Note on Operatic Metaphysics. Journal of Aesthetics and Art Criticism 52 (1):63-68.
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