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

1000+ found
Sort by:
  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.score: 87.0
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  2. Gregory A. Bryant (2013). Animal Signals and Emotion in Music: Coordinating Affect Across Groups. Frontiers in Psychology 4:990.score: 87.0
    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  
  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: 87.0
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  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.score: 87.0
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  5. 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: 87.0
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  6. 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: 87.0
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  7. Siglind Bruhn (2008). Religious Symbolism in the Music of Olivier Messiaen. American Journal of Semiotics 13 (1/4):277-309.score: 87.0
    No categories
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  8. Leonard B. Meyer (1956). Emotion and Meaning in Music. [Chicago]University of Chicago Press.score: 84.0
    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  
  9. Jenefer Robinson (ed.) (1997). Music & Meaning. Cornell University Press.score: 83.0
    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  
  10. Bruce W. Holsinger (2001). Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer. Stanford University Press.score: 76.0
    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  
  11. Eero Tarasti (2002). Signs of Music: A Guide to Musical Semiotics. Mouton De Gruyter.score: 72.0
    Music is said to be the most autonomous and least representative of all the arts.
    Direct download  
     
    My bibliography  
     
    Export citation  
  12. Joscelyn Godwin (1995). Music and the Occult: French Musical Philosophies, 1750-1950. University of Rochester Press.score: 69.0
     
    My bibliography  
     
    Export citation  
  13. George C. Schuetze (2005). Convergences in Music and Art: A Bibliographic Study. Harmonie Park Press.score: 69.0
    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  
  14. John T. Dzieglewicz (1980). The Conditions of Music.score: 67.0
     
    My bibliography  
     
    Export citation  
  15. Kathi Meyer-Baer (1970/1984). Music of the Spheres and the Dance of Death: Studies in Musical Iconology. Da Capo Press.score: 66.0
  16. Patrick C. M. Wong Marc Ettlinger, Elizabeth H. Margulis (2011). Implicit Memory in Music and Language. Frontiers in Psychology 2.score: 65.0
    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: 65.0
    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. Charles William Lemmi (1978). The Classic Deities in Bacon: A Study in Mythological Symbolism. Folcroft Library Editions.score: 64.0
     
    My bibliography  
     
    Export citation  
  19. 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: 63.0
    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  
  20. Robin M. James (2007). Deconstruction, Fetishism, and the Racial Contract: On the Politics of "Faking It" in Music. CR 7 (1):45-80.score: 62.0
    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  
  21. 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: 62.0
    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  
  22. 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: 62.0
    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  
  23. Carl E. Seashore (1981). In Search of Beauty in Music: A Scientific Approach to Musical Esthetics. Greenwood Press.score: 62.0
    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  
  24. 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: 62.0
    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  
  25. Kenneth Gloag (2012). Postmodernism in Music. Cambridge University Press.score: 62.0
    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. Benjamin Krämer (2012). Types of Statements on Emotion in Music. Nordic Journal of Aesthetics 23 (43).score: 62.0
    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  
  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: 60.0
    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: 60.0
    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: 60.0
    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. Julius Portnoy (1973). Music in the Life of Man. Westport, Conn.,Greenwood Press.score: 60.0
     
    My bibliography  
     
    Export citation  
  31. Carlo Serra (2005). La Rappresentazione Fra Paesaggio Sonoro E Spazio Musicale. Cuem.score: 60.0
    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  
  32. M. M. Gamai͡unov (2007). Chislovai͡a Simvolika I.S. Bakha: Tropami Loseva. Inri.score: 58.0
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  33. M. M. Gamai͡unov (2007). Chislovai͡a Simvolika I. Inri.score: 58.0
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  34. 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: 58.0
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  35. Derek Matravers (2007). Expression in Music. In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.score: 57.0
    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  
  36. Mario Smukalla Thomas Schäfer, Jörg Fachner (2013). Changes in the Representation of Space and Time While Listening to Music. Frontiers in Psychology 4.score: 57.0
    Music is known to alter people’s ordinary experience of space and time. Not only does this challenge the concept of invariant space and time tacitly assumed in psychology but it may also help us understand how music works and how music can be understood as an embodied experience. Yet research about these alterations is in its infancy. This review is intended to delineate a future research agenda. We review experimental evidence and subjective reports of the influence of (...)
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  37. Sofia Seinfeld, Heidi Figueroa, Jordi Ortiz-Gil & Maria V. Sanchez-Vives (2013). Effects of Music Learning and Piano Practice on Cognitive Function, Mood and Quality of Life in Older Adults. Frontiers in Psychology 4.score: 57.0
    Reading music and playing a musical instrument is a complex activity that comprises motor and multisensory (auditory, visual, and somatosensory) integration in a unique way. Music has also a well-known impact on the emotional state, while it can be a motivating activity. For those reasons, musical training has become a useful framework to study brain plasticity. Our aim was to study the specific effects of musical training versus the effects of other leisure activities in elderly people. With that (...)
    Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  38. Dana L. Strait & Nina Kraus (2011). Can You Hear Me Now? Musical Training Shapes Functional Brain Networks for Selective Auditory Attention and Hearing Speech in Noise. Frontiers in Psychology 2.score: 57.0
    Even in the quietest of rooms, our senses are perpetually inundated by a barrage of sounds, requiring the auditory system to adapt to a variety of listening conditions in order to extract signals of interest (e.g., one speaker’s voice amidst others). Brain networks that promote selective attention are thought to sharpen the neural encoding of a target signal, suppressing competing sounds and enhancing perceptual performance. Here, we ask: does musical training benefit cortical mechanisms that underlie selective attention to speech? To (...)
    Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  39. F. Degé & G. Schwarzer (2010). The Effect of a Music Program on Phonological Awareness in Preschoolers. Frontiers in Psychology 2:124-124.score: 57.0
    The present experiment investigated the effect of a music training program on phonological awareness in preschoolers. In particular, the effects of a music training program and a phonological skills training program on phonological awareness were compared. If language and music share basic processing mechanisms, the effect of both programs on enhancing phonological awareness should be similar. Forty-one preschoolers (22 boys) were randomly assigned to a phonological skills training program, a music training program, and a control group (...)
    Direct download (9 more)  
     
    My bibliography  
     
    Export citation  
  40. Stephan Bongard Ingo Roden, Gunter Kreutz (2012). Effects of a School-Based Instrumental Music Program on Verbal and Visual Memory in Primary School Children: A Longitudinal Study. Frontiers in Psychology 3.score: 57.0
    This study examined the effects of a school-based instrumental training program on the development of verbal and visual memory skills in primary school children. Participants either took part in a music program with weekly 45 minutes sessions of instrumental lessons in small groups at school, or they received extended natural science training. A third group of children did not receive additional training. Each child completed verbal and visual memory tests for three times over a period of 18 months. Significant (...)
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  41. Manjula Saxena (2005). Krausz on Interpretation in Music. Philosophy in the Contemporary World 12 (1):71-73.score: 57.0
    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  
  42. Jennifer Grau-Sánchez, Julià L. Amengual, Nuria Rojo, Misericòrdia Veciana de las Heras, Jordi Montero, Francisco Rubio, Eckart Altenmüller, Thomas F. Münte & Antoni Rodriguez-Fornells (2013). Plasticity in the Sensorimotor Cortex Induced by Music-Supported Therapy in Stroke Patients: A TMS Study. Frontiers in Human Neuroscience 7.score: 57.0
    Playing a musical instrument demands the engagement of different neural systems. Recent studies about the musician’s brain and musical training highlight that this activity requires the close interaction between motor and somatosensory systems. Moreover, neuroplastic changes have been reported in motor-related areas after short and long-term musical training. Because of its capacity to promote neuroplastic changes, music has been used in the context of stroke neurorehabilitation. The majority of patients suffering from a stroke have motor impairments, preventing them to (...)
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  43. Julian O'Kelly, L. James, R. Palaniappan, J. Fachner, J. Taborin & W. L. Magee (2013). Neurophysiological and Behavioural Responses to Music Therapy in Vegetative and Minimally Conscious States. Frontiers in Human Neuroscience 7:884.score: 57.0
    Assessment of awareness for those with disorders of consciousness (DOC) is a challenging undertaking, due to the complex presentation of the population, where misdiagnosis rates remain high. Music therapy may be effective in the assessment and rehabilitation with this population due to effects of musical stimuli on arousal, attention and emotion, irrespective of verbal or motor deficits, however, an evidence base is lacking. To address this, a neurophysiological and behavioural study was undertaken comparing EEG, heart rate variability, respiration and (...)
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  44. Krzysztof Guczalski (2005). Expressive Meaning in Music: Generality Versus Particularity. British Journal of Aesthetics 45 (4):342-367.score: 56.0
    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  
  45. Peter Kivy (1993). The Fine Art of Repetition: Essays in the Philosophy of Music. Cambridge University Press.score: 56.0
    Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music (...)
    Direct download  
     
    My bibliography  
     
    Export citation  
  46. D. Shaw (2001). 'Women in Music': A Reply to Gordon Graham. British Journal of Aesthetics 41 (1):84-87.score: 56.0
    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  
  47. Donald Walhout (1989). Augustine on the Transcendent in Music. Philosophy and Theology 3 (3):283-292.score: 56.0
    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  
  48. Wayne D. Bowman & Ana Lucía Frega (eds.) (2012). The Oxford Handbook of Philosophy in Music Education. Oup Usa.score: 56.0
    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  
  49. 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: 56.0
    (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  
  50. 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: 56.0
    No categories
    Direct download  
     
    My bibliography  
     
    Export citation  
1 — 50 / 1000