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

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  1. Bruce Ellis Benson (2003). The Improvisation of Musical Dialogue: A Phenomenology of Music. Cambridge University Press.score: 108.0
    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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  2. 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.score: 102.0
    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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  3. Rock Critics Need Bad Music (2004). I Like Bad Music.” That's My Usual Response to People Who Ask Me About My Musi. In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge.score: 100.0
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  4. D. Lloyd (2013). The Music of Consciousness: Can Musical Form Harmonize Phenomenology and the Brain? Constructivist Foundations 8 (3):324-331.score: 96.0
    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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  5. Ruth Herbert (2011). Everyday Music Listening: Absorption, Dissociation and Trancing. Ashgate Pub. Co..score: 90.0
    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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  6. 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.score: 78.0
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  7. 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.score: 78.0
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  8. F. Joseph Smith (forthcoming). Toward a Phenomenology of Music: A Musician's Composition Journal. Philosophy of Music Education Review.score: 78.0
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  9. Cynthia R. Nielsen (2009). “What Has Coltrane to Do With Mozart: The Dynamism and Built-in Flexibility of Music”. Expositions 3:57-71.score: 72.0
    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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  10. A. Gritten (2005). Review: The Improvisation of Musical Dialogue: A Phenomenology of Music. [REVIEW] British Journal of Aesthetics 45 (2):197-199.score: 72.0
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  11. M. Chatterjee (1971). Towards a Phenomenology of Time-Consciousness in Music. Diogenes 19 (74):49-56.score: 72.0
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  12. Jean G. Harrell (1990). Phenomenology of Film Music. Journal of Value Inquiry 14 (1):23-34.score: 72.0
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  13. Michael Christian Cifone (2014). Nothngness and Science (A Propadeutic). Cosmos and History: The Journal of Natural and Social Philosophy 10 (1):251-275.score: 72.0
    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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  14. Roberto Miraglia (1998). U.S. Phenomenology of Music: A Critical Survey. [REVIEW] Axiomathes 9 (1-2):235-251.score: 72.0
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  15. 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.score: 72.0
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  16. Luminiţa Pogăceanu (2010). The Phenomenology of the Experience of Listening to Music with Understanding. Linguistic and Philosophical Investigations 9:323-328.score: 72.0
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  17. 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.score: 72.0
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  18. Simon Høffding (2013). A Musical Exploration of Consciousness. Phenomenology and the Cognitive Sciences 12 (4):877-882.score: 60.0
  19. 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.score: 60.0
    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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  20. Bruce Ellis Benson & Norman Wirzba (eds.) (2005). The Phenomenology of Prayer. Fordham University Press.score: 54.0
    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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  21. Joel Krueger (2014). Affordances and the Musically Extended Mind. Frontiers in Psychology 4.score: 54.0
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  22. 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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  23. Alfred Schutz & Maurice Alexander Natanson (eds.) (1970). Phenomenology and Social Reality. The Hague,Nijhoff.score: 54.0
    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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  24. Derek Matravers (2007). Expression in Music. In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.score: 48.0
    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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  25. Harris M. Berger (2009). Stance: Ideas About Emotion, Style, and Meaning for the Study of Expressive Culture. Wesleyan University Press.score: 48.0
    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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  26. Enzo Fantin (2007). Il Suono Vivente: Guida a Una Fenomenologia Della Musica. Le Cáriti.score: 48.0
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  27. Stephan Höllwerth (2007). Musikalisches Gestalten: Ein Beitrag Zur Phänomenologie der Interpretation Tonaler Musik. P. Lang.score: 48.0
    Grundlagen musikalischen Gestaltens. Das Gestalten von Musik ; Ontologie ; Psychologie ; Semiotik ; Pragmatik -- Musikalische Phänomenologie. Methode ; Umriss ; Musiktheorie ; Kritik -- Gestaltungsvariablen. Fundamente ; Elemente ; Synthese.
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  28. Marja-Leena Juntunen (2004). Embodiment in Dalcroze Eurhythmics. Oulun Yliopisto.score: 48.0
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  29. Erwin W. Straus & Richard Marion Griffith (eds.) (1970). Aisthesis and Aesthetics. Pittsburgh, Pa.,Duquesne University Press.score: 48.0
     
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  30. David Sudnow (1978). Ways of the Hand: The Organization of Improvised Conduct. Harvard University Press.score: 48.0
     
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  31. R. A. Telʹcharova-Kurenkova (2006). Fenomenologicheskai͡a Ėstetika Muzyki: Monografii͡a. Vladimirskiĭ Gos. Pedagogicheskiĭ Universitet.score: 48.0
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  32. Joel Krueger (2011). Doing Things with Music. Phenomenology and the Cognitive Sciences 10 (1):1-22.score: 42.0
    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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  33. Clive Cazeaux (2005). Phenomenology and Radio Drama. British Journal of Aesthetics 45 (2):157-174.score: 42.0
    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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  34. F. Joseph Smith (ed.) (1976). In Search of Musical Method. Gordon and Breach.score: 42.0
    Alfred Schutz's "Fragments on the phenomenology of music" has been edited from a manuscript written in Lake Placid during the week of July 16th to July 23rd ...
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  35. Nicola Pedone (1995). Intersubjectivity, Time and Social Relationship in Alfred Schutz's Philosophy of Music. Axiomathes 6 (2):197-210.score: 42.0
    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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  36. Ruud Welten (2009). What Do We Hear When We Hear Music? Studia Phaenomenologica 9:269-286.score: 42.0
    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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  37. Roberto Miraglia (1995). Influences of Phenomenology: James Tenney's Theory. [REVIEW] Axiomathes 6 (2):273-308.score: 42.0
    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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  38. Arnold Berleant (forthcoming). Notes for a Phenomenology of Musical Performance. Philosophy of Music Education Review.score: 42.0
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  39. Alfred Schutz (1982). Collected Papers. Distributor for the U.S. And Canada Kluwer Boston.score: 36.0
    Following the thematic divisions of the first three volumes of Alfred Schutz's Collected Papers into The Problem of Social Reality, Studies in Social Theory and Phenomenological Philosophy, this fourth volume contains drafts of unfinished writings, drafts of published writings, translations of essays previously published in German, and some largely unpublished correspondence. The drafts of published writings contain important material omitted from the published versions, and the unfinished writings offer important insights into Schutz's otherwise unpublished ideas about economic and political theory (...)
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  40. 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.score: 36.0
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  41. Dennis J. Schmidt (2013). Keeping Pace with the Movement of Life: On Words and Music. Research in Phenomenology 43 (2):193-203.score: 36.0
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  42. Tiger C. Roholt (forthcoming). Groove: A Phenomenology of Rhythmic Nuance. Bloomsbury Academic.score: 36.0
    Roholt explains why grooves, which are forged in music’s rhythmic nuances, remain hidden to some listeners. He argues that grooves are not graspable through the intellect nor through mere listening; rather, grooves are disclosed through our bodily engagement with music. We grasp a groove bodily by moving with music’s pulsations. By invoking the French philosopher Maurice Merleau-Ponty’s notion of “motor intentionality,” Roholt shows that the “feel” of a groove, and the understanding of it, are two sides of (...)
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  43. Eliane Escoubas (2006). Derrida and the Truth of Drawing: Another Copernican Revolution? Research in Phenomenology 36 (1):201-214.score: 30.0
    I begin with the hypothesis that Jacques Derrida's Memoirs of the Blind: The Self-Portrait and Other Ruins is in a way the illustration of Speech and Phenomena and therefore Derrida's critique of phenomenology, intuition, perception, and seeing. I also want to show in this regard parallels with both Husserl and Kant. I emphasize that what is at issue in Memoirs of the Blind is art, visual arts; and in the great thematic richness of this text, I note the high (...)
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  44. Rob van Gerwen (2008). Expression as Success. The Psychological Reality of Musical Performance. Estetika 45 (1):24-40.score: 30.0
    Roger Scruton’s ontology of sound is found wanting on two counts. Scruton removes from music the importance of the performer’s manipulating of his instrument. This misconceives the phenomenology of hearing and, as a consequence, impoverishes our understanding of music. I argue that the musician’s manipulations can be heard in the music; and, in a discussion of notions developed by Richard Wollheim and Jerrold Levinson, that these manipulations have psychological reality, and that it is this psychological reality (...)
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  45. Andrew Geeves, Doris Mcllwain, John Sutton & Wayne Christensen (2010). Expanding Expertise: Investigating a Musician’s Experience of Music Performance. ASCS09: Proceedings of the 9th Conference of the Australasian Society for Cognitive Science:106-113.score: 30.0
    Seeking to expand on previous theories, this paper explores the AIR (Applying Intelligence to the Reflexes) approach to expert performance previously outlined by Geeves, Christensen, Sutton and McIlwain (2008). Data gathered from a semi-structured interview investigating the performance experience of Jeremy Kelshaw (JK), a professional musician, is explored. Although JK’s experience of music performance contains inherently uncertain elements, his phenomenological description of an ideal performance is tied to notions of vibe, connection and environment. The dynamic nature of music (...)
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  46. Jaana Parviainen (2011). Dwelling in the Virtual Sonic Environment: A Phenomenological Analysis of Dancers' Learning Processes. The European Legacy 16 (5):633 - 647.score: 30.0
    This article discusses the Embodied Generative Music (EGM) project carried out at the Institute of Electronic Music and Acoustics IEM in Austria. In investigating a new interface that combines motion capture and sound processing software with movement improvisation and performance, I focus on dancers? learning processes of dwelling in the virtual sonic environment. Applying phenomenology and its concepts, I describe how dancers explore reversibility of sound and movement to shape this connection in an artistically expressive manner. The (...)
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  47. David A. Ross (2007). Being in Time to the Music. Cambridge Scholars Press.score: 30.0
     
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  48. Alfred Pike (1974). Foundational Aspects of Musical Perception: A Phenomenological Analysis. Philosophy and Phenomenological Research 34 (3):429-434.score: 26.0
  49. Alfred Pike (1966). The Phenomenological Approach to Musical Perception. Philosophy and Phenomenological Research 27 (2):247-254.score: 26.0
  50. John W. Osborne (1989). A Phenomenological Investigation of the Musical Representation of Extra-Musical Ideas. Journal of Phenomenological Psychology 20 (2):151-175.score: 26.0
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