Search results for 'Symbolism in music' (try it on Scholar)

1000+ found
Sort by:
  1. Peter Crossley-Holland (1969). On William P. Malm's "on the Nature and Function of Symbolism in Western and Oriental Music". Philosophy East and West 19 (3):253-257.score: 435.0
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  2. William P. Malm (1969). On the Nature and Function of Symbolism in Western and Oriental Music. Philosophy East and West 19 (3):235-246.score: 435.0
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  3. Albert Hofstadter (1969). On William P. Malm's "on the Nature and Function of Symbolism in Western and Oriental Music". Philosophy East and West 19 (3):258-263.score: 435.0
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  4. Barbara B. Smith (1969). On William P. Malm's "on the Nature and Function of Symbolism in Western and Oriental Music". Philosophy East and West 19 (3):247-250.score: 435.0
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  5. Lee Winters (1969). On William P. Malm's "on the Nature and Function of Symbolism in Western and Oriental Music". Philosophy East and West 19 (3):251-252.score: 435.0
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  6. Siglind Bruhn (2008). Religious Symbolism in the Music of Olivier Messiaen. American Journal of Semiotics 13 (1/4):277-309.score: 435.0
    No categories
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  7. Jenefer Robinson (ed.) (1997). Music & Meaning. Cornell University Press.score: 267.0
    In order to promote new ways of thinking about musical meaning, this volume brings together scholars in music theory, musicology, and the philosophy of music, ...
    Direct download  
     
    My bibliography  
     
    Export citation  
  8. Jema M. Pamintuan (2012). Creating the Film Music in The Rapture of Fe: The Poetics of the Tambuleleng's Resonances. Thesis Eleven 112 (1):156-162.score: 261.0
    The process of conceptualization and creation of a film score heavily depends on the collaboration between the film director and composer. The harmony of the director’s and film composer’s ideas should provide an impetus for the synchronization of literature (the script and film narrative) and music (film score). This was mainly used as a guide in crafting the film score for the independent film Ang Panggagahasa kay Fe (The Rapture of Fe, 2009) directed by Alvin Yapan. This article explores (...)
    No categories
    Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  9. Eero Tarasti (2002). Signs of Music: A Guide to Musical Semiotics. Mouton De Gruyter.score: 234.0
    Music is said to be the most autonomous and least representative of all the arts.
    Direct download  
     
    My bibliography  
     
    Export citation  
  10. Gregory A. Bryant (2013). Animal Signals and Emotion in Music: Coordinating Affect Across Groups. Frontiers in Psychology 4:990.score: 230.0
    Researchers studying the emotional impact of music have not traditionally been concerned with the principled relationship between form and function in evolved animal signals. The acoustic structure of musical forms is related in important ways to emotion perception, and thus research on nonhuman animal vocalizations is relevant for understanding emotion in music. Musical behavior occurs in cultural contexts that include many other coordinated activities which mark group identity, and can allow people to communicate within and between social alliances. (...)
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  11. Joscelyn Godwin (1995). Music and the Occult: French Musical Philosophies, 1750-1950. University of Rochester Press.score: 225.0
     
    My bibliography  
     
    Export citation  
  12. Leonard B. Meyer (1956). Emotion and Meaning in Music. [Chicago]University of Chicago Press.score: 224.0
    Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...
    Direct download  
     
    My bibliography  
     
    Export citation  
  13. John T. Dzieglewicz (1980). The Conditions of Music.score: 219.0
     
    My bibliography  
     
    Export citation  
  14. Bruce W. Holsinger (2001). Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer. Stanford University Press.score: 200.0
    Ranging chronologically from the twelfth to the fifteenth century and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, from the musicality of sodomy in twelfth-century polyphony to Chaucer's representation of pedagogical violence in the Prioress's Tale, from early Christian writings on the music of the body to the plainchant and poetry of Hildegard of Bingen, the (...)
     
    My bibliography  
     
    Export citation  
  15. George C. Schuetze (2005). Convergences in Music and Art: A Bibliographic Study. Harmonie Park Press.score: 194.0
    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.
     
    My bibliography  
     
    Export citation  
  16. Patrick C. M. Wong Marc Ettlinger, Elizabeth H. Margulis (2011). Implicit Memory in Music and Language. Frontiers in Psychology 2.score: 186.0
    Research on music and language in recent decades has focused on their overlapping neurophysiological, perceptual, and cognitive underpinnings, ranging from the mechanism for encoding basic auditory cues to the mechanism for detecting violations in phrase structure. These overlaps have most often been identified in musicians with musical knowledge that was acquired explicitly, through formal training. In this paper, we review independent bodies of work in music and language that suggest an important role for implicitly acquired knowledge, implicit memory, (...)
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  17. Mari Tervaniemi Elvira Brattico, Vinoo Alluri, Brigitte Bogert, Thomas Jacobsen, Nuutti Vartiainen, Sirke Nieminen (2011). A Functional MRI Study of Happy and Sad Emotions in Music with and Without Lyrics. Frontiers in Psychology 2.score: 186.0
    Musical emotions, such as happiness and sadness, have been investigated using instrumental music devoid of linguistic content. However, pop and rock, the most common musical genres, utilize lyrics for conveying emotions. Using participants’ self-selected musical excerpts, we studied their behavior and brain responses to elucidate how lyrics interact with musical emotion processing, as reflected by emotion recognition and activation of limbic areas involved in affective experience. We extracted samples from subjects’ selections of sad and happy pieces and sorted them (...)
    Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  18. Kathi Meyer-Baer (1970/1984). Music of the Spheres and the Dance of Death: Studies in Musical Iconology. Da Capo Press.score: 182.7
  19. Robin M. James (2007). Deconstruction, Fetishism, and the Racial Contract: On the Politics of "Faking It" in Music. CR 7 (1):45-80.score: 180.0
    I read Sara Kofman's work on Nietzsche, Charles Mills' _The Racial Contract_, and Kodwo Eshun's Afrofuturist musicology to argue that most condemnations of "faking it" in music rest on a racially and sexually problematic fetishization of "the real.".
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  20. Kevin Connolly, John Donaldson, David M. Gray, Emily McWilliams, Sofia Ortiz-Hinojosa & David Suarez, Recognizing Emotion in Music (Network for Sensory Research Toronto Workshop on Perceptual Learning: Question Six).score: 180.0
    This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: How do we recognize distinct types of emotion in music?
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  21. Andrew Geeves, Doris J. F. McIlwain, John Sutton & Wayne Christensen (2013). To Think or Not To Think: The Apparent Paradox of Expert Skill in Music Performance. Educational Philosophy and Theory:1-18.score: 180.0
    Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. (...)
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  22. Carl E. Seashore (1981). In Search of Beauty in Music: A Scientific Approach to Musical Esthetics. Greenwood Press.score: 180.0
    In Search of Beauty in Music A SCIENTIFIC APPROACH TO MUSICAL ESTHETICS by CARL E. SEASHORE PROFESSOR OF PSYCHOLOGY AND DEAN EMERITUS OF THE GRADUATE SCHOOL, ...
    Direct download  
     
    My bibliography  
     
    Export citation  
  23. Elizabeth Gould (2011). Writing Trojan Horses and War Machines: The Creative Political in Music Education Research. Educational Philosophy and Theory 43 (8):874-887.score: 180.0
    North American music education is a commodity sold to pre-service and in-service music teachers. Like all mass-produced consumables, it is valuable to the extent that it is not creative, that is, to the extent that it is reproducible. This is demonstrated in curricular materials, notably general music series textbook and music scores available from a rapidly shrinking cadre of publishers, as well as rigid and pre-determined pedagogical practices. Distributing resources and techniques that produce predicable, consistent, and (...)
    Direct download (7 more)  
     
    My bibliography  
     
    Export citation  
  24. Benjamin Krämer (2012). Types of Statements on Emotion in Music. Nordic Journal of Aesthetics 23 (43).score: 180.0
    The question of emotion in music is addressed from a linguistic perspective, providing a typology of statements that can be made about that topic. In particular, it is analyzed how an interlocutor could react to such statements uttered by another person, and whether or how the content of the statements could be refuted by the listener, and possibly corroborated by the speaker. Furthermore, it is briefly discussed which theories of emotion in music are compatible with the respective types (...)
    Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  25. Kenneth Gloag (2012). Postmodernism in Music. Cambridge University Press.score: 180.0
    Postmodernism is a term that has been used extensively to describe general trends and specific works in many different cultural contexts, including literature, cinema, architecture and the visual arts. This introduction clarifies the term and explores its relevance for music through discussion of specific musical examples from the 1950s to the present day, providing an engagement between theory and practice. Overall, this book equips students with a thorough understanding of this complex but important topic in music studies. It: (...)
    Direct download  
     
    My bibliography  
     
    Export citation  
  26. Carlo Serra (2005). La Rappresentazione Fra Paesaggio Sonoro E Spazio Musicale. Cuem.score: 180.0
    Il carattere passivo dell'ascolto -- Il paesaggio sonoro come matrice simbolica -- Il tema dell'immaginazione -- Poetica del paesaggio sonoro : Zefiro torna -- Evocazione della primavera : il fluire metamorfico -- Ritardo e decorso percettivo -- Il canto degli uccelli come modello naturale -- Lo schema e l'immagine.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  27. Elizabeth Gould (2011). Feminist Imperative(s) in Music and Education: Philosophy, Theory, or What Matters Most. Educational Philosophy and Theory 43 (2):130-147.score: 176.0
    A historically feminized profession, education in North America remains remarkably unaffected by feminism, with the notable exception of pedagogy and its impact on curriculum. The purpose of this paper is to describe characteristics of feminism that render it particularly useful and appropriate for developing potentialities in education and music education. As a set of flexible methodological tools informed by Gilles Deleuze's notions of philosophy and art, I argue feminism may contribute to education's becoming more efficacious, reflexive, and reflective of (...)
    Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  28. Anthony Pople (ed.) (1994/2006). Theory, Analysis and Meaning in Music. Cambridge University Press.score: 176.0
    Recent encounters with structuralist and poststructuralist critical theory, linguistics, and cognitive sciences have brought the theory and analysis of music into the orbit of important developments in present-day intellectual history. Without seeking to impose an explicit redefinition of either theory or analysis, this book explores the limits of both. Essays on decidability, ambiguity, metaphor, music as text, and music analysis as cognitive theory are complemented by studies of works by Debussy, Schoenberg, Birtwistle and Boulez.
    Direct download  
     
    My bibliography  
     
    Export citation  
  29. Daniel Barenboim (2004). Parallels and Paradoxes: Explorations in Music and Society. Vintage Books.score: 176.0
    These free-wheeling, often exhilarating dialogues—which grew out of the acclaimed Carnegie Hall Talks—are an exchange between two of the most prominent figures in contemporary culture: Daniel Barenboim, internationally renowned conductor and pianist, and Edward W. Said, eminent literary critic and impassioned commentator on the Middle East. Barenboim is an Argentinian-Israeli and Said a Palestinian-American; they are also close friends. As they range across music, literature, and society, they open up many fields of inquiry: the importance of a sense of (...)
    Direct download  
     
    My bibliography  
     
    Export citation  
  30. Charles William Lemmi (1978). The Classic Deities in Bacon: A Study in Mythological Symbolism. Folcroft Library Editions.score: 176.0
     
    My bibliography  
     
    Export citation  
  31. M. M. Gamai͡unov (2007). Chislovai͡a Simvolika I.S. Bakha: Tropami Loseva. Inri.score: 174.0
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  32. M. M. Gamai͡unov (2007). Chislovai͡a Simvolika I. Inri.score: 174.0
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  33. M. S. Skrebkova-Filatova & V. E. Eremeev (eds.) (2007). Chislo V Nauke I Iskusstve: Sbornik Materialov 9-Ĭ Konferent͡sii Iz T͡sikla "Grigorʹevskikh Chteniĭ". Asm.score: 174.0
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  34. Derek Matravers (2007). Expression in Music. In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.score: 170.0
    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.
    Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  35. Manjula Saxena (2005). Krausz on Interpretation in Music. Philosophy in the Contemporary World 12 (1):71-73.score: 170.0
    This paper suggests certain differences between the interpretation of Indian classical music and the interpretation of Western classical music. In Indian music the work is constituted in the moment of a recital. The performer is the maker of the music. Accordingly, the performer simultaneously produces a work and interprets it. Further, in the Indian tradition. music is a path of “bhakti yoga,” or a path of devotion.
    No categories
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  36. Krzysztof Guczalski (2005). Expressive Meaning in Music: Generality Versus Particularity. British Journal of Aesthetics 45 (4):342-367.score: 168.0
    The dilemma referred to in the title occurs in many contexts concerned with expressive meaning in art, and especially music, which suggests that the issue it raises will be central to any complete theory of musical expressiveness. One notable attempt to resolve the paradox of simultaneous generality and particularity in music is in Aaron Ridley's book Music, Value and the Passions. I show why I consider his account unsatisfactory and then propose my own resolution of the paradox. (...)
    Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  37. D. Shaw (2001). 'Women in Music': A Reply to Gordon Graham. British Journal of Aesthetics 41 (1):84-87.score: 168.0
    In his article 'Women in Music' Gordon Graham argues that 'women do not make composers' and 'there is good reason to believe that the composition of music will continue to be an activity largely of men'. In reply Shaw argues there is a deep inconsistency in Graham's argument or a gap which, given Graham's views, he would be hard pressed to fill. Shaw also raises objections to Graham's claim that his view that women cannot compose significant music, (...)
    Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  38. Wayne D. Bowman & Ana Lucía Frega (eds.) (2012). The Oxford Handbook of Philosophy in Music Education. Oup Usa.score: 168.0
    In The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucia Frega have drawn together a variety of philosophical perspectives from the profession's most exciting scholars from all over the world. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere. Emphasizing clarity, fairness, rigour, and utility above all, The Oxford Handbook of Philosophy in Music Education will challenge (...)
    No categories
    Direct download  
     
    My bibliography  
     
    Export citation  
  39. Donald Walhout (1989). Augustine on the Transcendent in Music. Philosophy and Theology 3 (3):283-292.score: 168.0
    I offer an argument for the claim that there is a transcendent dimension in music. The argument begins with one offered by Augustine in the De Musica, and adds additional support from contemporary discussions in musicology.
    Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  40. Prof Th C. De Kruijf (2013). “More than half a hundredweight” of spices (John 19,39 neb) abundance and symbolism in the gospel of John. Bijdragen 43 (3):234-239.score: 168.0
    (1982). “MORE THAN HALF A HUNDREDWEIGHT” OF SPICES (JOHN 19,39 NEB) ABUNDANCE AND SYMBOLISM IN THE GOSPEL OF JOHN. Bijdragen: Vol. 43, No. 3, pp. 234-239.
    No categories
    Translate to English
    | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  41. Estelle R. Jorgensen (2012). On Informalities in Music Education. In Wayne D. Bowman & Ana Lucía Frega (eds.), The Oxford Handbook of Philosophy in Music Education. Oup Usa. 453.score: 168.0
    No categories
    Direct download  
     
    My bibliography  
     
    Export citation  
  42. Meredith Tromble (2009). The Advent of Chemical Symbolism in the Art of Sonya Rapoport. Foundations of Chemistry 11 (1):51-60.score: 168.0
    This paper explores the use of chemical symbolism in works by the new media artist Sonya Rapoport, with a focus on the pivotal Cobalt series from the late 1970s. These works, drawings on computer printouts generated by research at the Lawrence Berkeley Laboratory, respond to experiments in nuclear chemistry. They mark the beginning of three productive decades in which Rapoport produced a variety of images related to chemistry in her work. She states, “I looked for authentic research projects that (...)
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  43. Julius Portnoy (1973). Music in the Life of Man. Westport, Conn.,Greenwood Press.score: 168.0
     
    My bibliography  
     
    Export citation  
  44. James O. Young (2005). The ‘Great Divide’ in Music. British Journal of Aesthetics 45 (2):175-184.score: 164.0
    Several prominent philosophers of music, including Lydia Goehr and Peter Kivy, maintain that the experience of music changed drastically in about 1800. According to the great divide hypothesis, prior to 1800 audiences often scarcely attended to music. At other times, music was appreciated as part of social, civic, or religious ceremonies. After the great divide, audiences began to appreciate music as an exclusive object of aesthetic experience. The great divide hypothesis is false. The musicological record (...)
    Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  45. Eddy M. Zemach (2002). The Role of Meaning in Music. British Journal of Aesthetics 42 (2):169-178.score: 164.0
    It has been persuasively argued that music refers. For example, a passage that resembles the demeanour of people under the sway of emotion E is seen as itself being E and, thus, as referring to E. Yet what is the purpose of such reference? Serious music, I say, works as a proof. A passage that refers to E is cast as a well-formed formula in a calculus. That formula is then creatively developed in accordance with the rules of (...)
    Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  46. Daniel Albright (2000). Untwisting the Serpent: Modernism in Music, Literature, and Other Arts. University of Chicago Press.score: 164.0
    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 (...)
    Direct download  
     
    My bibliography  
     
    Export citation  
  47. Robert S. Hatten (1995). Metaphor in Music. In Eero Tarasti (ed.), Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton de Gruyter. 121--373.score: 164.0
    No categories
    Direct download  
     
    My bibliography  
     
    Export citation  
  48. Viatscheslav Medushevsky (1995). Musical Intonation-Language of Intuition and Logic: A Contribution to the System of the Semiotics of Intonation in Music. In Eero Tarasti (ed.), Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton de Gruyter. 121--189.score: 164.0
    No categories
    Direct download  
     
    My bibliography  
     
    Export citation  
  49. [deleted]Caroline Palmer Rachel M. Brown (2013). Auditory and Motor Imagery Modulate Learning in Music Performance. Frontiers in Human Neuroscience 7.score: 164.0
    Skilled performers such as athletes or musicians can improve their performance by imagining the actions or sensory outcomes associated with their skill. Performers vary widely in their auditory and motor imagery abilities, and these individual differences influence sensorimotor learning. It is unknown whether imagery abilities influence both memory encoding and retrieval. We examined how auditory and motor imagery abilities influence musicians’ encoding (during Learning, as they practiced novel melodies), and retrieval (during Recall of those melodies). Pianists learned melodies by listening (...)
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  50. Jirí Kulka (1995). A Semio-Psychological Theory of Communication in Music. In Eero Tarasti (ed.), Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton de Gruyter. 279--284.score: 164.0
    No categories
    Direct download  
     
    My bibliography  
     
    Export citation  
1 — 50 / 1000