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  1. Theodore A. Gracyk (1994). Rethinking Hume's Standard of Taste. Journal of Aesthetics and Art Criticism 52 (2):169-182.
  2. Theodore A. Gracyk (1986). Sublimity, Ugliness, and Formlessness in Kant's Aesthetic Theory. Journal of Aesthetics and Art Criticism 45 (1):49-56.
  3.  52
    Theodore Gracyk & Andrew Kania (eds.) (2011). The Routledge Companion to Philosophy and Music. Routledge.
    " Guy Dammann, Guildhall School of Music and Drama, UK "This admirable volume will be welcomed by established philosophers of and especially - by those coming ...
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  4.  76
    Theodore Gracyk (2011). Delicacy in Hume's Theory of Taste. Journal of Scottish Philosophy 9 (1):1-16.
    David Hume's celebrated essay ‘‘Of the Standard of Taste’’ is the central text for understanding Hume's aesthetic theory, yet an important claim in that essay has received inadequate attention in the literature. Although it is understood that Hume stresses the importance of delicacy of taste, it is less well understood that this delicacy is a delicacy of imagination, which is distinct from a delicacy of perception. Using both the essay and other texts to elucidate this thesis, it appears that Hume's (...)
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  5.  6
    Theodore Gracyk (1999). Rhythm and Noise: An Aesthetics of Rock. Journal of Aesthetics and Art Criticism 57 (4):467-469.
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  6.  70
    Theodore A. Gracyk (1990). Having Bad Taste. British Journal of Aesthetics 30 (2):117-131.
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  7.  60
    Theodore A. Gracyk (1986). Kant's Shifting Debt to British Aesthetics. British Journal of Aesthetics 26 (3):204-217.
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  8.  35
    Theodore Gracyk (1997). Listening to Music: Performances and Recordings. Journal of Aesthetics and Art Criticism 55 (2):139-150.
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  9.  31
    Theodore Gracyk (1999). Valuing and Evaluating Popular Music. Journal of Aesthetics and Art Criticism 57 (2):205-220.
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  10.  14
    Theodore Gracyk (2014). Critique of Pure Music, by James O. Young. Australasian Journal of Philosophy 93 (2):403-406.
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  11.  13
    Theodore A. Gracyk (1987). The Failure of Thomas Reid's Aesthetics. The Monist 70 (4):465-482.
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  12. Theodore Gracyk (2003). I Wanna Be Me: Rock Music and the Politics of Identity. Journal of Aesthetics and Art Criticism 61 (3):307-309.
     
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  13. Theodore Gracyk (forthcoming). Who Is the Artist If Works of Art Are Action Types? Journal of Aesthetic Education.
     
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  14.  19
    Theodore Gracyk (2013). Meanings of Songs and Meanings of Song Performances. Journal of Aesthetics and Art Criticism 71 (1):23-33.
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  15.  6
    Theodore A. Gracyk (1987). Pornography as Representation: Aesthetic Considerations. Journal of Aesthetic Education 21 (4):103.
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  16.  25
    Theodore Gracyk (2002). Jazz After Jazz : Ken Burns and the Construction of Jazz History. Philosophy and Literature 26 (1):173-187.
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  17.  8
    Theodore A. Gracyk (1991). Kant's Doctrine of Heuristics. Modern Schoolman 68 (3):191-210.
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  18.  17
    Theodore Gracyk (2011). Misappropriation of Our Musical Past. Journal of Aesthetic Education 45 (3):50-66.
    Education and learning occur in various settings, some of which are more formally institutionalized than others. Even if it seems to have failed as a definition of art, awareness of art-world institutions has increased in the wake of George Dickie’s proposal that art enmeshes an artifact in a set of interlocking yet informally structured art-world systems, that is, “the art-world.”1 However, relatively little of that attention has fallen on the distinctively educative roles played by art-world institutions and those who act (...)
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  19.  7
    Theodore Gracyk (2013). Music, Indiscernible Counterparts, and Danto on Transfiguration. Evental Aesthetics 2 (3):58-86.
    Arthur C. Danto’s The Transfiguration of the Commonplace is one of the most influential recent books on philosophy of art. It is noteworthy for both his method, which emphasizes indiscernible pairs and sets of objects, and his conclusion, which is that artworks are distinguished from non-artwork counterparts by a semantic and aesthetic transfiguration that depends on their relationship to art history. In numerous contexts, Danto has confirmed that the relevant concept of art is the concept of fine art. Examples of (...)
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  20. Theodore A. Gracyk (1992). Ralf Meerbote and Hud Hudson, Eds., Kant's Aesthetics. Vol. 1, North American Kant Society Studies in Philosophy Reviewed By. [REVIEW] Philosophy in Review 12 (6):407-409.
     
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  21.  5
    Theodore Gracyk (2008). Music's Worldly Uses, Ori How I Learned to Stop Worrying and to Love Led Zeeeeliin—. In Alex Neill & Aaron Ridley (eds.), Arguing About Art: Contemporary Philosophical Debates. Routledge 137.
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  22.  6
    Theodore Gracyk (2007). Neo-Baroque Aesthetics and Contemporary Entertainment (Review). Journal of Aesthetic Education 41 (2):115-119.
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  23.  5
    Theodore A. Gracyk (1993). Romanticizing Rock Music. Journal of Aesthetic Education 27:43-43.
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  24.  5
    Theodore A. Gracyk (1993). Thinking in Education. International Studies in Philosophy 25 (3):138-139.
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  25.  5
    Theodore Gracyk & Andrew Kania (2011). Música e filosofia. Critica.
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  26.  4
    Theodore Gracyk (2014). Stephen Davies , The Artful Species: Aesthetics, Art, and Evolution . Reviewed By. Philosophy in Review 34 (3-4):126-128.
  27.  8
    Theodore A. Gracyk (1990). Are Kant's “Aesthetic Judgment” and “Judgment of Taste” Synonymous? International Philosophical Quarterly 30 (2):159-172.
  28.  11
    Theodore Gracyk (1999). Play It Again, Sam: Response to Niblock. Journal of Aesthetics and Art Criticism 57 (3):368-370.
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  29.  9
    Theodore Gracyk (2010). Elective Affinities: Musical Essays on the History of Aesthetic Theory by Goehr, Lydia. Journal of Aesthetics and Art Criticism 68 (2):175-176.
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  30.  8
    Theodore Gracyk (2008). Everyday Aesthetics: Prosaics, the Play of Culture and Social Identitiesby Mandoki, Katya. Journal of Aesthetics and Art Criticism 66 (4):422-424.
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  31.  9
    Theodore Gracyk (2007). Searching for the 'Popular' and the 'Art' of Popular Art. Philosophy Compass 2 (3):380–395.
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  32.  2
    Theodore Gracyk (2014). The British Aesthetic Tradition: From Shaftesbury to Wittgenstein by Timothy M. Costelloe. Journal of the History of Philosophy 52 (4):848-849.
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  33.  6
    Theodore A. Gracyk (1986). The Metaphysics of Transcendental Subjectivity. Philosophical Books 27 (2):82-84.
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  34.  2
    Theodore Gracyk (2009). Antithetical Arts: On the Ancient Quarrel Between Literature and Music by Kivy, Peter. Journal of Aesthetics and Art Criticism 67 (4):435-438.
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  35.  2
    Theodore A. Gracyk (1992). Siegel on Competency Testing and Critical Thinking. Informal Logic 14 (2).
    Harvey Siegel argues that minimum competency testing (MCT) is incompatible with strong sense critical thinking. His arguments are reviewed and contrasted with positions held by John E. McPeck and Michael Scriven. Siegel's arguments seem directed against the prevailing form of MCT. However, alternative formats which allow for the aggregate and context-sensitive nature of critical thinking are not doomed to the arbitrariness Siegel finds. MCT may be a legitimate and useful means for furthering critical thinking as one of our educational ideals.
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  36.  2
    Theodore Gracyk (2014). Review of "The Many Faces of Beauty". [REVIEW] Essays in Philosophy 15 (1):174-178.
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  37.  1
    Theodore Gracyk (2005). Art Subjects: Making Artists in the American University (Review). Journal of Aesthetic Education 39 (1):119-122.
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  38. Theodore Gracyk (2006). Andrew Light and Jonathan M. Smith, Eds., The Aesthetics of Everyday Life Reviewed By. Philosophy in Review 26 (3):205-208.
     
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  39. Theodore Gracyk (2008). Documentation and Transformation in Musical Recordings. In Mine Doğantan (ed.), Recorded Music: Philosophical and Critical Reflections. Middlesex University Press
     
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  40. Theodore Gracyk (2013). On Music. Routledge.
    Opinionated and example-filled, this extremely concise and accessible book provides a survey of some fundamental and longstanding debates about the nature of music. The central arguments and ideas of historical and contemporary philosophers are presented with the goal of making them as accessible as possible to general readers who have no background in philosophy. The emphasis is on instrumental music, but examples are drawn from many cultures as well as from Western classical, jazz, folk, and popular music.
     
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  41. Theodore Gracyk (2013). On Music. Routledge.
    Opinionated and example-filled, this extremely concise and accessible book provides a survey of some fundamental and longstanding debates about the nature of music. The central arguments and ideas of historical and contemporary philosophers are presented with the goal of making them as accessible as possible to general readers who have no background in philosophy. The emphasis is on instrumental music, but examples are drawn from many cultures as well as from Western classical, jazz, folk, and popular music.
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  42. Theodore Gracyk (1997). Susan L. Feagin, Reading With Feeling: The Aesthetics of Appreciation Reviewed By. Philosophy in Review 17 (6):404-406.
     
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  43. Theodore Gracyk (1997). Susan L. Feagin, Reading With Feeling: The Aesthetics of Appreciation. [REVIEW] Philosophy in Review 17:404-406.
     
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  44.  19
    Theodore Gracyk (2014). The Philosophy of Art: An Introduction. Polity.
    The Philosophy of Art is a highly accessible introduction to current key issues and debates in aesthetics and philosophy of art.
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  45. Theodore Gracyk (2011). The Philosophy of Art: An Introduction. Polity.
    _The Philosophy of Art_ is a highly accessible introduction to current key issues and debates in aesthetics and philosophy of art. Chapters on standard topics are balanced by topics of interest to today's students, including creativity, authenticity, cultural appropriation, and the distinction between popular and fine art. Other topics include emotive expression, pictorial representation, definitional strategies, and artistic value. Presupposing no prior knowledge of philosophy, Theodore Gracyk draws on three decades of teaching experience to provide a balanced and engaging overview, (...)
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  46. Theodore Gracyk (2011). The Philosophy of Art: An Introduction. Polity.
    _The Philosophy of Art_ is a highly accessible introduction to current key issues and debates in aesthetics and philosophy of art. Chapters on standard topics are balanced by topics of interest to today's students, including creativity, authenticity, cultural appropriation, and the distinction between popular and fine art. Other topics include emotive expression, pictorial representation, definitional strategies, and artistic value. Presupposing no prior knowledge of philosophy, Theodore Gracyk draws on three decades of teaching experience to provide a balanced and engaging overview, (...)
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  47. Theodore Gracyk (2013). The Philosophy of Art: An Introduction. Polity.
    _The Philosophy of Art_ is a highly accessible introduction to current key issues and debates in aesthetics and philosophy of art. Chapters on standard topics are balanced by topics of interest to today's students, including creativity, authenticity, cultural appropriation, and the distinction between popular and fine art. Other topics include emotive expression, pictorial representation, definitional strategies, and artistic value. Presupposing no prior knowledge of philosophy, Theodore Gracyk draws on three decades of teaching experience to provide a balanced and engaging overview, (...)
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  48. Theodore Gracyk & Andrew Kania (eds.) (2011). The Routledge Companion to Philosophy and Music. Routledge.
    _The Routledge Companion to Philosophy and Music_ is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of music music, philosophy and related disciplines _The Routledge Companion to Philosophy and Music_ is essential reading for anyone interested in philosophy, music and musicology.
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