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

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  1. William P. Malm (1969). On the Nature and Function of Symbolism in Western and Oriental Music. Philosophy East and West 19 (3):235-246.
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  2.  6
    Siglind Bruhn (2008). Religious Symbolism in the Music of Olivier Messiaen. American Journal of Semiotics 13 (1/4):277-309.
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  3.  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.
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  4.  4
    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.
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    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.
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    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.
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  7. Jenefer Robinson (ed.) (1997). Music & Meaning. Cornell University Press.
    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,..
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  8.  15
    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.
    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 (...)
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  9.  47
    Eero Tarasti (2002). Signs of Music: A Guide to Musical Semiotics. Mouton De Gruyter.
    Music is said to be the most autonomous and least representative of all the arts.
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  10.  82
    Leonard B. Meyer (1956). Emotion and Meaning in Music. [Chicago]University of Chicago Press.
    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 ...
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  11. Joscelyn Godwin (1995). Music and the Occult: French Musical Philosophies, 1750-1950. University of Rochester Press.
     
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  12. John T. Dzieglewicz (1980). The Conditions of Music.
     
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  13. Bruce W. Holsinger (2001). Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer. Stanford University Press.
    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 (...)
     
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  14. 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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  15. 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 (6):1-18.
    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. (...)
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  16.  82
    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).
    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?
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  17. Robin M. James (2007). Deconstruction, Fetishism, and the Racial Contract: On the Politics of "Faking It" in Music. CR 7 (1):45-80.
    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.".
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  18.  48
    Kendall Walton (2011/2015). Thoughtwriting—in Poetry and Music. In Kendall L. Walton (ed.), In Other Shoes: Music, Metaphor, Empathy, Existence. Oxford University Press 54-74.
    Poetry is a literary art, and is often examined alongside the novel, stories, and theater. But poetry, much of it, has more in common with music, in important respects, than with other forms of literature. The emphasis on sound and rhythm in both poetry and music is obvious, but I will explore a very different similarity between them. All or almost all works of literary fiction have narrators—so it is said anyway—characters who, in the world of the fiction, (...)
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  19.  6
    Benjamin Krämer (2012). Types of Statements on Emotion in Music. Nordic Journal of Aesthetics 23 (43).
    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 (...)
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  20.  4
    Elizabeth Gould (2011). Writing Trojan Horses and War Machines: The Creative Political in Music Education Research. Educational Philosophy and Theory 43 (8):874-887.
    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 (...)
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  21.  4
    Kenneth Gloag (2012). Postmodernism in Music. Cambridge University Press.
    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: (...)
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  22.  12
    Carl E. Seashore (1981). In Search of Beauty in Music: A Scientific Approach to Musical Esthetics. Greenwood Press.
    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, ...
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  23. Carlo Serra (2005). La Rappresentazione Fra Paesaggio Sonoro E Spazio Musicale. Cuem.
    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.
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  24.  41
    Elizabeth Gould (2011). Feminist Imperative(s) in Music and Education: Philosophy, Theory, or What Matters Most. Educational Philosophy and Theory 43 (2):130-147.
    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 (...)
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  25.  9
    Daniel Barenboim (2004). Parallels and Paradoxes: Explorations in Music and Society. Vintage Books.
    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 (...)
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  26. Charles William Lemmi (1978). The Classic Deities in Bacon: A Study in Mythological Symbolism. Folcroft Library Editions.
     
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  27. Kathi Meyer-Baer (1970/1984). Music of the Spheres and the Dance of Death: Studies in Musical Iconology. Da Capo Press.
     
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  28.  20
    Anthony Pople (ed.) (1994/2006). Theory, Analysis and Meaning in Music. Cambridge University Press.
    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 (...)
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  29. M. M. Gamai͡unov (2007). Chislovai͡a Simvolika I.S. Bakha: Tropami Loseva. Inri.
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  30. M. M. Gamai͡unov (2007). Chislovai͡a Simvolika I. Inri.
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  31. M. S. Skrebkova-Filatova & V. E. Eremeev (eds.) (2007). Chislo V Nauke I Iskusstve: Sbornik Materialov 9-Ĭ Konferent͡sii Iz T͡sikla "Grigorʹevskikh Chteniĭ". Asm.
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  32. Peter McPhee (1984). Reviews : Maurice Agulhon, Marianne Into Battle. Republican Imagery and Symbolism in France, 1789-1880 (Cambridge U.P., 1981), and The Republic in the Village, The People of the Var From the French Revolution to the Second Republic (Cambridge U.P., 1982). Both Published Jointly with the Maison des Sciences de l'Homme, Paris. [REVIEW] Thesis Eleven 8 (1):159-162.
    Reviews : Maurice Agulhon, Marianne into Battle. Republican Imagery and Symbolism in France, 1789-1880 , and The Republic in the Village, The People of the Var from the French Revolution to the Second Republic . Both published jointly with the Maison des Sciences de l'Homme, Paris.
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  33.  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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  34.  8
    Manjula Saxena (2005). Krausz on Interpretation in Music. Philosophy in the Contemporary World 12 (1):71-73.
    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.
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  35.  26
    Krzysztof Guczalski (2005). Expressive Meaning in Music: Generality Versus Particularity. British Journal of Aesthetics 45 (4):342-367.
    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. (...)
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  36.  14
    Donald Walhout (1989). Augustine on the Transcendent in Music. Philosophy and Theology 3 (3):283-292.
    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.
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  37.  3
    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.
    (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.
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  38.  10
    D. Shaw (2001). 'Women in Music': A Reply to Gordon Graham. British Journal of Aesthetics 41 (1):84-87.
    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, (...)
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  39.  3
    James Wierzbicki (2011). The Postmodern in Music. Semiotica 2011 (183):283-308.
    “Postmodern” is an elusive concept that embraces a wide range of critical theories and attitudes. To borrow the assessment that the American poet Walt Whitman offered of himself, the concept is large and contains multitudes, various aspects of which often seem to be at odds with one another. Postmodern art likewise contains multitudes; indeed, it would seem that one of postmodern art's chief characteristics is the comfortable integration of apparently contradictory stimuli that, importantly, are sited less in the “work” itself (...)
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  40.  1
    Jonathan D. Kramer (1981). New Temporalities in Music. Critical Inquiry 7 (3):539-556.
    As this century has found new temporalities to replace linearity, discontinuities have become commonplace. Discontinuity, if carried to a pervasive extreme, destroys linearity…There were two enormous factors, beyond the general cultural climate, that promoted composers' active pursuit of discontinuities. These influences did not cause so much as feed the dissatisfaction with linearity that many artists felt. But the impact has been profound. One factor contributing to the increase of discontinuity was the gradual absorption of music from totally different cultures, (...)
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  41.  7
    Meredith Tromble (2009). The Advent of Chemical Symbolism in the Art of Sonya Rapoport. Foundations of Chemistry 11 (1):51-60.
    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 (...)
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  42.  1
    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.
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  43. Cathy Benedict, Patrick Schmidt, Gary Spruce & Paul Woodford (2016). The Oxford Handbook of Social Justice in Music Education. Oxford University Press Usa.
    Music education has historically had a tense relationship with social justice. One the one hand, educators concerned with music practices have long preoccupied themselves with ideas of open participation and the potentially transformative capacity that musical interaction fosters. On the other hand, they have often done so while promoting and privileging a particular set of musical practices, traditions, and forms of musical knowledge, which has in turn alienated and even excluded many children from music education opportunities. The (...)
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  44.  5
    Wayne D. Bowman & Ana Lucía Frega (eds.) (2012). The Oxford Handbook of Philosophy in Music Education. OUP Usa.
    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 (...)
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  45. Dorottya Fabian, Renee Timmers & Emery Schubert (eds.) (2014). Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures. OUP Oxford.
    This book brings together researchers from a range of disciplines that use diverse methodologies to provide new perspectives and formulate answers to questions about the meaning, means, and contextualisation of expressive performance in music.
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  46.  4
    Julius Portnoy (1973). Music in the Life of Man. Westport, Conn.,Greenwood Press.
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  47. Charles Thomas Taylor (2007). Symbolism in Religion and Art. Upa.
    All of Charles Thomas Taylor's previous writings have attempted to reveal the universal rational foundation that undergirds all of the various ethical, political, and economic systems that best nurture human existence. With a latent recognition that the presence of symbolism in other areas of human concern, such as in religion or the fine arts, essentially communicates ethical value, Taylor presents his new book to consider the current relevance or irrelevance of religion and art for the ethical life.
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  48.  3
    Andrada Fătu-Tutoveanu (2015). “The Return of the Sacred”: Implicit Religion and Initiation Symbolism in Zvyagintsev’s Vozvrashchenie. Journal for the Study of Religions and Ideologies 14 (42):198-230.
    Recent studies have been increasingly interested in the connections between popular culture – cinema in particular – and religion, and most particularly in how traditional mythologies and religious frameworks and practices are recycled and reinterpreted within modern media. These interactions can be ranged from opposition to dialogue and move towards appropriation and even replacement, in terms of functions and impact. Departing from a series of theories – mainly that of “implicit religion”, coined by Bailey but also developed by theorists like (...)
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  49.  32
    Eddy M. Zemach (2002). The Role of Meaning in Music. British Journal of Aesthetics 42 (2):169-178.
    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 (...)
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  50.  29
    James O. Young (2005). The ‘Great Divide’ in Music. British Journal of Aesthetics 45 (2):175-184.
    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 (...)
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