Search results for 'Phenomenology and music' (try it on Scholar)

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  1. Anna-Teresa Tymieniecka, World Institute for Advanced Phenomenological Research and Learning & World Congress of Phenomenology (1991). Husserlian Phenomenology in a New Key Intersubjectivity, Ethos, the Societal Sphere, Human Encounter, Pathos.
  2. Anna-Teresa Tymieniecka, World Institute for Advanced Phenomenological Research and Learning & World Congress of Phenomenology (1998). Phenomenology of Life and the Human Creative Condition.
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  3.  4
    Rhonda Claire Siu (forthcoming). Rethinking the Body and Space in Alfred Schutz’s Phenomenology of Music. Human Studies:1-14.
    What is initially striking about Alfred Schutz’s phenomenological account of the musical experience, which encompasses both the performance and reception of music, is his apparent dismissal of the corporeal and spatial aspects of that experience. The paper argues that this is largely a product of his wider understanding of temporality wherein the mind and time are privileged over the body and space, respectively. While acknowledging that Schutz’s explicit or stated view is that the body and space are relatively insignificant (...)
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  4.  47
    Bruce Ellis Benson (2003). The Improvisation of Musical Dialogue: A Phenomenology of Music. Cambridge University Press.
    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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  5.  18
    David Clarke (2011). Music, Phenomenology, Time Consciousness: Meditations After Husserl. In David Clarke & Eric F. Clarke (eds.), Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. Oxford University Press 1-28.
    David Clarke examines the complex relationship between phenomenological and semiological understandings of music and consciousness through the window of time. He also explores the polar tension between Husserl's phenomenology and Derrida's critique of it, considering what the experience of music might have to offer in response to the crucial question of what is most primordial or essential to consciousness: the unceasing, differential movement of meaning, or some pure flow of subjectivity that underpins all our experience.
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  6.  32
    D. Lloyd (2013). The Music of Consciousness: Can Musical Form Harmonize Phenomenology and the Brain? Constructivist Foundations 8 (3):324-331.
    Context: Neurophenomenology lies at a rich intersection of neuroscience and lived human experience, as described by phenomenology. As a new discipline, it is open to many new questions, methods, and proposals. Problem: The best available scientific ontology for neurophenomenology is based in dynamical systems. However, dynamical systems afford myriad strategies for organizing and representing neurodynamics, just as phenomenology presents an array of aspects of experience to be captured. Here, the focus is on the pervasive experience of subjective time. (...)
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  7.  2
    B. Babich (2014). Adorno's Radio Phenomenology: Technical Reproduction, Physiognomy and Music. Philosophy and Social Criticism 40 (10):957-996.
    Adorno’s phenomenological study of radio offers a sociology of music in a political and cultural context. Situating that phenomenology in the context of Adorno’s philosophical background and the world political circumstances of Adorno’s collaboration with Paul Lazarsfeld on the Princeton Radio Project, illuminates both Adorno’s Current of Music and the Dialectic of Enlightenment with Max Horkheimer and the ‘Culture Industry’. Together with an analysis of popular music in social practice/culture, this article also explores Adorno’s spatial reflections (...)
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  8.  10
    Eugene Montague (2011). Phenomenology and the 'Hard Problem' of Consciousness and Music. In David Clarke & Eric F. Clarke (eds.), Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. Oxford University Press 29--46.
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  9.  3
    F. Joseph Smith (forthcoming). Toward a Phenomenology of Music: A Musician's Composition Journal. Philosophy of Music Education Review.
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  10.  6
    Christopher Norris (2007). Phenomenology, Structuralism, and Philosophy of Music: A Qualified Platonist Approach. Journal of the British Society for Phenomenology 38:128-147.
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  11. David Clarke (2011). Music, Phenomenology, Time. In David Clarke & Eric F. Clarke (eds.), Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. Oxford University Press 1.
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  12. M. Chatterjee (1971). Towards a Phenomenology of Time-Consciousness in Music. Diogenes 19 (74):49-56.
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  13.  11
    F. Joseph Smith (1981). The Experiencing of Musical Sound: Prelude to the Phenomenology of Music. Journal of Aesthetics and Art Criticism 40 (2):224-224.
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  14.  37
    A. Gritten (2005). Review: The Improvisation of Musical Dialogue: A Phenomenology of Music. [REVIEW] British Journal of Aesthetics 45 (2):197-199.
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  15. Luminiţa Pogăceanu (2010). The Phenomenology of the Experience of Listening to Music with Understanding. Linguistic and Philosophical Investigations 9:323-328.
     
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  16.  15
    Roberto Miraglia (1998). U.S. Phenomenology of Music: A Critical Survey. [REVIEW] Axiomathes 9 (1-2):235-251.
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  17.  20
    Jean G. Harrell (1990). Phenomenology of Film Music. Journal of Value Inquiry 14 (1):23-34.
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  18. Münir Beken (2008). Music Theory and Phenomenology of Musical Performance. A Case Study: Five Notes in Joel-Francois Durand's Un Feu Distinct. Analecta Husserliana 96:305-310.
     
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  19. Alfred Pike (1965). The Phenomenology of Music and the Thomistic Aesthetic. The Thomist 29 (3):281.
     
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  20. Sitansu Ray (2002). The Phenomenology of Music: A Vital Source of Tagore's Creativity. In Anna-Teresa Tymieniecka (ed.), The Visible and the Invisible in the Interplay Between Philosophy, Literature, and Reality. Kluwer 311--318.
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  21.  17
    Ruth Herbert (2011). Everyday Music Listening: Absorption, Dissociation and Trancing. Ashgate Pub. Co..
    Music and listening, music and consciousness -- Conceptualizing consciousness -- The phenomenology of everyday music listening experiences -- Absorption, dissociation and trancing -- Musical and non-musical trancing in daily life -- Imaginative involvement -- Musical and non-musical trancing : similarities and differences -- Experiencing life and art : ethological and evolutionary perspectives on -- Transformations of consciousness -- Everyday music listening experiences reframed.
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  22. Cynthia R. Nielsen (2009). “What Has Coltrane to Do With Mozart: The Dynamism and Built-in Flexibility of Music”. Expositions 3:57-71.
    Although contemporary Western culture and criticism has usually valued composition over improvisation and placed the authority of a musical work with the written text rather than the performer, this essay posits these divisions as too facile to articulate the complex dynamics of making music in any genre or form. Rather it insists that music should be understood as pieces that are created with specific intentions by composers but which possess possibilities of interpretation that can only be brought out (...)
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  23. Fred Kersten (2005). Galileo and the 'Invention' of Opera, a Study in the Phenomenology of Consciousness. Human Studies 28 (1):87-94.
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  24.  85
    Michael Christian Cifone (2014). Nothngness and Science. Cosmos and History: The Journal of Natural and Social Philosophy 10 (1):251-275.
    We characterize science in terms of nihilism: the nihilism of science is something faced not in what science i mplies, but as the very essence of science as such. The nihilism of science is the birth of the truth of Nietzsche's announcement "God is dead" from within science as it must now face its repressed subjective core. But in truth, as the Psychoanalytic tradition has determined, it is subjectivity itself that is a bottomless searching-the subject is itself born from nothing. (...)
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  25.  22
    Wayne D. Bowman (1998). Philosophical Perspectives on Music. Oxford University Press.
    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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  26.  83
    Bruce Ellis Benson & Norman Wirzba (eds.) (2005). The Phenomenology of Prayer. Fordham University Press.
    This collection of ground-breaking essays considers the many dimensions of prayer: how prayer relates us to the divine; prayer's ability to reveal what is essential about our humanity; the power of prayer to transform human desire and action; and the relation of prayer to cognition. It takes up the meaning of prayer from within a uniquely phenomenological point of view, demonstrating that the phenomenology of prayer is as much about the character and boundaries of phenomenological analysis as it is (...)
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  27. Alfred Schutz & Maurice Alexander Natanson (eds.) (1970). Phenomenology and Social Reality. The Hague,Nijhoff.
    Values and the scope of scientific inquiry, by M. Farber.--The phenomenology of epistemic claims: and its bearing on the essence of philosophy, by R. M. Zaner.--Problems of the Life-World, by A. Gurwitsch.--The Life-World and the particular sub-worlds, by W. Marx.--On the boundaries of the social world, by T. Luckmann.--Alfred Schutz on social reality and social science, by M. Natanson.--Homo oeconomicus and his class mates, by F. Machlup.--Toward a science of political economics, by A. Lowe.--Some notes on reality-orientation in contemporary (...)
     
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  28.  41
    Derek Matravers (2007). Expression in Music. In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press
    This is a critical review of the current state of the debate in the philosophy of music, and defends the author's view as the phenomenology of the experience.
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  29.  25
    Joel Krueger (2014). Affordances and the Musically Extended Mind. Frontiers in Psychology 4 (1003):1-12.
    I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances – via soliciting different forms of entrainment – enhance the functionality of various endogenous, emotiongranting regulative processes, drawing novel experiences out of us with an expanded complexity and phenomenal (...)
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  30. Ruud Welten (2009). What Do We Hear When We Hear Music? Studia Phaenomenologica 9:269-286.
    In this contribution I want to sketch a phenomenology of music, expounding and expanding the philosophy of Michel Henry. In the work of Henry, several approaches to a phenomenology of music are made. The central question of the contribution is: “What do we hear when we hear music?” It is argued that there is an unbridgeable divide between the intentional sphere of the world and its sounds and what in Henry’s philosophy is understood as Life. (...)
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  31. Joel Krueger (2011). Doing Things with Music. Phenomenology and the Cognitive Sciences 10 (1):1-22.
    This paper is an exploration of how we do things with music—that is, the way that we use music as an esthetic technology to enact micro-practices of emotion regulation, communicative expression, identity construction, and interpersonal coordination that drive core aspects of our emotional and social existence. The main thesis is: from birth, music is directly perceived as an affordance-laden structure. Music, I argue, affords a sonic world, an exploratory space or nested acoustic environment that further affords (...)
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  32.  20
    Roger E. Beaty, Chris J. Burgin, Emily C. Nusbaum, Thomas R. Kwapil, Donald A. Hodges & Paul J. Silvia (2013). Music to the Inner Ears: Exploring Individual Differences in Musical Imagery. Consciousness and Cognition 22 (4):1163-1173.
    In two studies, we explored the frequency and phenomenology of musical imagery. Study 1 used retrospective reports of musical imagery to assess the contribution of individual differences to imagery characteristics. Study 2 used an experience sampling design to assess the phenomenology of musical imagery over the course of one week in a sample of musicians and non-musicians. Both studies found episodes of musical imagery to be common and positive: people rarely wanted such experiences to end and often heard (...)
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  33.  35
    Clive Cazeaux (2005). Phenomenology and Radio Drama. British Journal of Aesthetics 45 (2):157-174.
    Radio drama is often considered an incomplete or ‘blind’ artform because it creates worlds through sound alone. The charge of incompleteness, I suggest, rests upon the orthodox empiricist conception of sensation as the receipt of separate modalities of sensory impression. However, alternative theories of sensation are offered by phenomenology and—of particular importance to this study—the restructuring of cognition that takes place in these theories plays a central role in phenomenology's account of artistic expression. The significance of this phenomenological (...)
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    Nicola Pedone (1995). Intersubjectivity, Time and Social Relationship in Alfred Schutz's Philosophy of Music. Axiomathes 6 (2):197-210.
    Alfred Schutz's (Vienna 1899 — New York 1959) research into the philosophy of music certainly cannot be regarded as the most notable aspect of this writer, born and educated in Vienna, later a naturalized American citizen. Nor can it legitimately be maintained that Schutz's writings on the subject form a systematic corpus in his work. Schutz was above all a social scientist, strongly attracted, as were many writers of the first half of this century, to the project of aphilosophical (...)
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  35.  15
    Simon Høffding (2013). A Musical Exploration of Consciousness. Phenomenology and the Cognitive Sciences 12 (4):877-882.
  36.  18
    Daniel A. Schmicking (2006). Ineffabilities of Making Music: An Exploratory Study. Journal of Phenomenological Psychology 37 (1):9-23.
    Some facets of making music are explored by combining arguments of Raffman's cognitivist explanation of ineffability with Merleau-Ponty's view of embodied perception. Behnke's approach to a phenomenology of playing a musical instrument serves as a further source. Focusing on the skilled performer-listener, several types of ineffable knowledge of performing music are identified: gesture feeling ineffability —the performer's sensorimotor knowledge of the gestures necessary to produce instrumental sounds is not exhaustively communicable via language; gesture nuance ineffability —the performer (...)
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  37.  6
    Marcia Sá Cavalcante Schuback (2013). In-Between Painting and Music—or, Thinking with Paul Klee and Anton Webern. Research in Phenomenology 43 (3):419-442.
    The present article discusses the relation between painting and music in the work by Paul Klee, bringing it into conversation with the music by Anton Webern. It assumes, as a starting point, that the main question is not about relating painting and music but rather about the relation between moving towards painting and moving towards music, hence the relation between forming forces and not between formed forms. Since for Klee the musical structure of the pictorial is (...)
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  38.  6
    Kristin Zeiler (forthcoming). A Philosophical Defense of the Idea That We Can Hold Each Other in Personhood: Intercorporeal Personhood in Dementia Care. [REVIEW] Medicine, Health Care and Philosophy:1-11.
    Since John Locke, regnant conceptions of personhood in Western philosophy have focused on individual capabilities for complex forms of consciousness that involve cognition such as the capability to remember past events and one’s own past actions, to think about and identify oneself as oneself, and/or to reason. Conceptions of personhood such as Locke's qualify as cognition-oriented, and they often fail to acknowledge the role of embodiment for personhood. This article offers an alternative conception of personhood from within the tradition of (...)
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  39.  13
    Roberto Miraglia (1995). Influences of Phenomenology: James Tenney's Theory. [REVIEW] Axiomathes 6 (2):273-308.
    This article on James Tenney, the American music theorist and composer, sets out the overall framework of his theory of music, in particular the systematic analysis conducted in his essay entitledMeta+hodos. Although these reflections cannot be included in the sphere of American musical phenomenology, they show remarkable similarities with phenomenological themes. A Gestalt approach centred on the description of sound phenomena is delineated, together with a conceptualization hinging on the phenomenal nature of music and the idea (...)
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  40.  5
    Dennis J. Schmidt (2013). Keeping Pace with the Movement of Life: On Words and Music. Research in Phenomenology 43 (2):193-203.
    The largest purpose of this paper is to ask about how it is that life is re-presented by us. The argument is that life should be considered as a matter not of a collection of objects, but of a movement, of time. Furthermore, the claim is that the conceptual language of philosophy has the liability of ossifying this movement of life but that music, which is time and movement above all, is able to keep pace with this movement of (...)
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  41. Andreas Dorschel, Deniz Peters & Gerhard Eckel (eds.) (2012). Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity. Routledge.
    In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, (...)
     
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  42. Andreas Dorschel, Gerhard Eckel & Deniz Peters (eds.) (2013). Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity, 2nd. Ed. Routledge.
    In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, (...)
     
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  43. R. Martinelli (2010). Ehrenfels, Höfler, Witasek. Zur Musikästhetik der Grazer Schule. .
    Ehrenfels, Höfler and Witasek competently contributed to a musical aesthetics based upon the principles of the Graz school. In spite of a shared general psychological framework, they deeply differ in applying it to the aesthetics of music. A double tendency can be pointed out. Ehrenfels and Höfler enthusiastically supported Richard Wagner and vindicated the aesthetic value of his music. Accordingly, they made large use of analogies between musical and organic Gestalten. In a platonic vein, Höfler also thinks of (...)
     
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  44. Kalpana Ram & Christopher Houston (eds.) (2015). Phenomenology in Anthropology: A Sense of Perspective. Indiana University Press.
    This volume explores what phenomenology adds to the enterprise of anthropology, drawing on and contributing to a burgeoning field of social science research inspired by the phenomenological tradition in philosophy. Essays by leading scholars ground their discussions of theory and method in richly detailed ethnographic case studies. The contributors broaden the application of phenomenology in anthropology beyond the areas in which it has been most influential—studies of sensory perception, emotion, bodiliness, and intersubjectivity—into new areas of inquiry such as (...)
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  45. Kalpana Ram & Christopher Houston (eds.) (2015). Phenomenology in Anthropology: A Sense of Perspective. Indiana University Press.
    This volume explores what phenomenology adds to the enterprise of anthropology, drawing on and contributing to a burgeoning field of social science research inspired by the phenomenological tradition in philosophy. Essays by leading scholars ground their discussions of theory and method in richly detailed ethnographic case studies. The contributors broaden the application of phenomenology in anthropology beyond the areas in which it has been most influential—studies of sensory perception, emotion, bodiliness, and intersubjectivity—into new areas of inquiry such as (...)
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  46. Kalpana Ram & Christopher Houston (eds.) (2015). Phenomenology in Anthropology: A Sense of Perspective. Indiana University Press.
    This volume explores what phenomenology adds to the enterprise of anthropology, drawing on and contributing to a burgeoning field of social science research inspired by the phenomenological tradition in philosophy. Essays by leading scholars ground their discussions of theory and method in richly detailed ethnographic case studies. The contributors broaden the application of phenomenology in anthropology beyond the areas in which it has been most influential—studies of sensory perception, emotion, bodiliness, and intersubjectivity—into new areas of inquiry such as (...)
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  47. David Giles & Donna Rockwell (2009). Being a Celebrity: A Phenomenology of Fame. Journal of Phenomenological Psychology 40 (2):178-210.
    The experience of being famous was investigated through interviews with 15 well-known American celebrities. The interviews detail the existential parameters of being famous in contemporary culture. Research participants were celebrities in various societal categories: government, law, business, publishing, sports, music, film, television news and entertainment. Phenomenological analysis was used to examine textural and structural relationship-to-world themes of fame and celebrity. The study found that in relation to self, being famous leads to loss of privacy, entitization, demanding expectations, gratification of (...)
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  48. David Sudnow (1978). Ways of the Hand: The Organization of Improvised Conduct. Harvard University Press.
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  49.  11
    Harris M. Berger (2009). Stance: Ideas About Emotion, Style, and Meaning for the Study of Expressive Culture. Wesleyan University Press.
    Locating stance -- Structures of stance in lived experience -- Stance and others, stance and lives -- The social life of stance and the politics of expressive culture.
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  50. Enzo Fantin (2007). Il Suono Vivente: Guida a Una Fenomenologia Della Musica. Le Cáriti.
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