Linked bibliography for the SEP article "The Philosophy of Music" by Andrew Kania |
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- Alperson, P., 1984, “On Musical Improvisation”, Journal of Aesthetics and Art Criticism, 43: 17–29. (Scholar)
- –––, 1998, “Improvisation: An Overview”, in Encyclopedia of Aesthetics, M. Kelly (ed.), New York, NY: Oxford University Press, vol. 1, pp. 478–9. (Scholar)
- Aristotle, 1987, Poetics, Stephen Halliwell (trans.), London: Duckworth. (Scholar)
- Bartel, C., 2011, “Music without Metaphysics?”, British Journal of Aesthetics, 51: 383–98. (Scholar)
- Bicknell, J., 2005, “Just a Song? Exploring the Aesthetics of Popular Song Performance”, Journal of Aesthetics and Art Criticism, 63: 261–70. (Scholar)
- –––, 2007a, “Reflections on ‘John Henry’: Ethical Issues in Singing Performance”, Journal of Aesthetics and Art Criticism, 67: 173–80. (Scholar)
- –––, 2007b, “Explaining Strong Emotional Responses to Music: Sociality and Intimacy”, Journal of Consciousness Studies, 14: 5–23. (Scholar)
- –––, 2009, Why Music Moves Us, New York: Palgrave Macmillan. (Scholar)
- Bicknell J. & J.A. Fisher, forthcoming, Special Issue on Song, Songs, and Singing, Journal of Aesthetics and Art Criticism. (Scholar)
- Brown, L., 1996, “Musical Works, Improvisation, and the Principle of Continuity”, Journal of Aesthetics and Art Criticism, 54: 353–69. (Scholar)
- –––, 2000, “‘Feeling My Way…’: Jazz Improvisation and its Vicissitudes – A Plea for Imperfection”, Journal of Aesthetics and Art Criticism, 58: 113–23. (Scholar)
- –––, 2011, “Do Higher-Order Music Ontologies Rest on a Mistake?”, British Journal of Aesthetics, 51: 169–84. (Scholar)
- –––, 2012, “Further Doubts about Higher-Order Ontology: Reply to Andrew Kania”, British Journal of Aesthetics, 52: 103–6. (Scholar)
- Budd, M., 1985a, Music and the Emotions: The Philosophical Theories, London: Routledge & Kegan Paul. (Scholar)
- –––, 1985b, “Understanding Music”, Proceedings of the Aristotelian Society, supp. vol. 59: 233–48. (Scholar)
- –––, 1995, Values of Art: Pictures, Poetry and Music, London: Penguin. (Scholar)
- –––, 2003, “Musical Movement and Aesthetic Metaphors”, British Journal of Aesthetics, 43: 209–23. (Scholar)
- Cameron, R., 2008, “There Are No Things That Are Musical Works”, British Journal of Aesthetics, 48: 295–314. (Scholar)
- Caplan, B. and C. Matheson, 2004, “Can a Musical Work be Created?”, British Journal of Aesthetics, 44: 113–34. (Scholar)
- –––, 2006, “Defending Musical Perdurantism”, British Journal of Aesthetics, 46: 59–69. (Scholar)
- Carroll, N., 1988, Mystifying Movies: Fads and Fallacies in Contemporary Film Theory, New York, NY: Columbia University Press. (Scholar)
- Cochrane, T., 2010a, “Music, Emotions and the Influence of the Cognitive Sciences”, Philosophy Compass, 5: 978–88. (Scholar)
- –––, 2010b, “A Simulation Theory of Musical Expressivity”, Australasian Journal of Philosophy, 88: 191–207. (Scholar)
- Collingwood, R.G., 1938, The Principles of Art, Oxford: Oxford University Press. (Scholar)
- Cooke, D., 1959, The Language of Music, Oxford: Oxford University Press. (Scholar)
- Currie, G., 1989, An Ontology of Art, New York, NY: St. Martin's Press. (Scholar)
- Davies, D., 2004, Art as Performance, Malden, MA: Blackwell. (Scholar)
- –––, 2009, “The Primacy of Practice in the Ontology of Art”, Journal of Aesthetics and Art Criticism, 67: 159–71. (Scholar)
- Davies, S., 1987, “The Evaluation of Music”, reprinted in Davies 2003a, pp. 195–212. (Scholar)
- –––, 1991, “The Ontology of Musical Works and the Authenticity of their Performances”, reprinted in S. Davies 2003a, pp. 60–77. (Scholar)
- –––, 1994, Musical Meaning and Expression, Ithaca, NY: Cornell University Press. (Scholar)
- –––, 1997a, “John Cage's 4′33″: Is it Music?”, reprinted in 11–29. (Scholar)
- –––, 1997b, “Contra the Hypothetical Persona in Music”, reprinted in S. Davies 2003a, pp. 152–68. (Scholar)
- –––, 2001, Musical Works and Performances: A Philosophical Exploration, Oxford: Oxford University Press. (Scholar)
- –––, 2003, “Ontologies of Musical Works”, in Themes in the Philosophy of Music, Oxford: Oxford University Press, pp. 30–46. (Scholar)
- –––, 2006, “Artistic Expression and the Hard Case of Pure Music”, in Contemporary Debates in Aesthetics and the Philosophy of Art, M. Kieran (ed.), Malden, MA: Blackwell, pp. 179–91. (Scholar)
- –––, 2008, “Musical Works and Orchestral Colour”, British Journal of Aesthetics, 48: 363–75. (Scholar)
- –––, 2011a, “Cross-cultural Musical Expressiveness: Theory and the Empirical Program”, in Musical Understandings and Other Essays on the Philosophy of Music, Oxford: Oxford University Press, pp. 34–46. (Scholar)
- –––, 2011b, “Emotional Contagion from Music to Listener”, in Musical Understandings and Other Essays on the Philosophy of Music, Oxford: Oxford University Press, pp. 47–65. (Scholar)
- –––, 2011c, “Musical Understandings”, in Musical Understandings and Other Essays on the Philosophy of Music, Oxford: Oxford University Press, pp. 88–129. (Scholar)
- –––, 2011d, “Music and Metaphor”, in Musical Understandings and Other Essays on the Philosophy of Music, Oxford: Oxford University Press, pp. 21–34. (Scholar)
- DeBellis, M., 1995, Music and Conceptualization, Cambridge: Cambridge University Press. (Scholar)
- Dewey, J., 1934, Art as Experience, New York, NY: Minton, Balch. (Scholar)
- Dodd, J., 2000, “Musical Works as Eternal Types”, British Journal of Aesthetics, 40: 424–40. (Scholar)
- –––, 2002, “Defending Musical Platonism”, British Journal of Aesthetics, 42: 380–402. (Scholar)
- –––, 2005, “Critical Study: Artworks and Generative Performances”, British Journal of Aesthetics, 45: 69–87. (Scholar)
- –––, 2007, Works of Music: An Essay in Ontology, Oxford: Oxford University Press. (Scholar)
- –––, 2010, “Confessions of an Unrepentant Timbral Sonicist”, British Journal of Aesthetics, 50: 33–52. (Scholar)
- Goehr, L., 1992, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, Oxford: Oxford University Press. (Scholar)
- –––, 1998, The Quest for Voice: On Music, Politics, and the Limits of Philosophy: The 1997 Ernest Bloch Lectures, Oxford: Oxford University Press. (Scholar)
- Goldman, A., 1992, “The Value of Music”, Journal of Aesthetics and Art Criticism, 50: 35–44. (Scholar)
- –––, 1995, “Emotions in Music (A Postscript)”, Journal of Aesthetics and Art Criticism, 53: 59–69. (Scholar)
- Goodman, N., 1968, Languages of Art; references are to the second edition (1976), Indianapolis, IN: Hackett. (Scholar)
- Gould, C. and K. Keaton, 2000, “The Essential Role of Improvisation in Musical Performance”, Journal of Aesthetics and Art Criticism, 58: 143–8. (Scholar)
- Gracyk, T., 1996, Rhythm and Noise: An Aesthetics of Rock, Durham, NC: Duke University Press. (Scholar)
- –––, 2001, I Wanna Be Me: Rock Music and the Politics of Identity, Philadelphia, PA: Temple University Press. (Scholar)
- –––, 2011, “Evaluating Music”, in Gracyk & Kania 2011, pp. 165–75. (Scholar)
- Gracyk, T. & A. Kania (eds.), 2011, The Routledge Companion to Philosophy and Music, New York: Routledge. (Scholar)
- Hagberg, G., 1998, “Improvisation: Jazz Improvisation”, in Encyclopedia of Aesthetics, M. Kelly (ed.), New York, NY: Oxford University Press, vol. 1, pp. 479–82. (Scholar)
- –––, 2002, “On Representing Jazz: An Art Form in Need of Understanding”, Philosophy and Literature, 26: 188–98. (Scholar)
- Hamilton, A., 2007, Aesthetics and Music, New York: Continuum. (Scholar)
- Hanslick, E., 1986, On the Musically Beautiful: A Contribution towards the Revision of the Aesthetics of Music, G. Payzant (trans.), Indianapolis, IN: Hackett. (Scholar)
- Higgins, K. M., 1991, The Music of Our Lives, Philadelphia, PA: Temple University Press. (Scholar)
- Howell, R., 2002, “Types, Indicated and Initiated”, British Journal of Aesthetics, 42: 105–27. (Scholar)
- Hume, D., 1757, “Of Tragedy”, reprinted in Essays: Moral, Political, and Literary, E. Miller (ed.), Indianapolis, IN: Liberty Classics (1985), pp. 216–25. (Scholar)
- Huovinen, E., 2008, “Levels and Kinds of Listeners' Musical Understanding”, British Journal of Aesthetics, 48: 315–37. (Scholar)
- –––, 2011, “Understanding Music”, in Gracyk & Kania 2011, pp. 123–33. (Scholar)
- Ingarden, R., 1986, The Work of Music and the Problem of its Identity, Adam Czerniawski (trans.), Berkeley, CA: University of California Press. (First published in German in 1961.) (Scholar)
- Jackendoff, R., 2011, “Music and Language”, in Gracyk & Kania 2011, pp. 101–12. (Scholar)
- Kania, A., 2006, “Making Tracks: The Ontology of Rock Music”, Journal of Aesthetics and Art Criticism, 64: 401–14. (Scholar)
- –––, 2008a, “New Waves in Musical Ontology”, in New Waves in Aesthetics, K. Stock and K. Thomson-Jones (eds.), New York: Palgrave Macmillan, pp. 20–40. (Scholar)
- –––, 2008b, “Piece for the End of Time: In Defence of Musical Ontology”, British Journal of Aesthetics, 48: 65–79. (Scholar)
- –––, 2008c, “The Methodology of Musical Ontology: Descriptivism and Its Implications”, British Journal of Aesthetics, 48: 426–44. (Scholar)
- –––, 2010, “Silent Music”, Journal of Aesthetics and Art Criticism, 68: 343–53. (Scholar)
- –––, 2011a, “Definition”, in Gracyk & Kania 2011, pp. 1–13. (Scholar)
- –––, 2011b, “All Play and No Work: An Ontology of Jazz”, Journal of Aesthetics and Art Criticism, 69: 391–403. (Scholar)
- –––, 2012, “In Defence of Higher-Order Musical Ontology: A Reply to Lee B. Brown”, British Journal of Aesthetics, 52: 97–102. (Scholar)
- –––, forthcoming a, “Music”, in The Routledge Companion to Aesthetics, third edition, D.M. Lopes & B. Gaut (eds.), New York: Routledge. (Scholar)
- –––, forthcoming b, “Platonism vs. Nominalism in Contemporary Musical Ontology”, in Art & Abstract Objects, Christy Mag Uidhir (ed.), Oxford: Oxford University Press, pp. 197–219. (Scholar)
- Kivy, P., 1980, The Corded Shell: Reflections on Musical Expression, Princeton, NJ: Princeton University Press. (Scholar)
- –––, 1983a, “Platonism in Music: A Kind of Defense”, reprinted in Kivy 1993, pp. 35–58. (Scholar)
- –––, 1983b, “Platonism in Music: Another Kind of Defense”, reprinted in Kivy 1993, pp. 59–74. (Scholar)
- –––, 1988a, “Orchestrating Platonism”, reprinted in Kivy 1993, pp. 75–94. (Scholar)
- –––, 1988b, Osmin's Rage: Philosophical Reflections on Opera, Drama, and Text, Princeton, NJ: Princeton University Press. (Second edition (1999) with a new preface and final chapter, Ithaca, NY: Cornell University Press.) (Scholar)
- –––, 1989, Sound Sentiment: An Essay on the Musical Emotions, including the complete text of The Corded Shell, Philadelphia, PA: Temple University Press. (Scholar)
- –––, 1993, The Fine Art of Repetition: Essays in the Philosophy of Music, Cambridge: Cambridge University Press. (Scholar)
- –––, 1994, “Speech, Song, and the Transparency of Medium: A Note on Operatic Metaphysics”, reprinted in Musical Worlds: New Directions in the Philosophy of Music, P. Alperson (ed.), University Park, PA: Pennsylvania State University Press (1998), pp. 63–8. (Scholar)
- –––, 1995, Authenticities: Philosophical Reflections on Musical Performance, Ithaca, NY: Cornell University Press. (Scholar)
- –––, 1997a, “Music in the Movies: A Philosophical Enquiry”, in Film Theory and Philosophy, R. Allen and M. Smith (eds.), Oxford: Oxford University Press, pp. 308–28. (Scholar)
- –––, 1997b, Philosophies of Arts: An Essay in Differences, Cambridge: Cambridge University Press. (Scholar)
- –––, 1999, “Feeling the Musical Emotions”, British Journal of Aesthetics, 39: 1–13. (Scholar)
- –––, 2001, “Music in Memory and Music in the Moment” in his New Essays on Musical Understanding, Oxford: Oxford University Press, pp. 183–217. (Scholar)
- –––, 2002, Introduction to a Philosophy of Music, Oxford: Oxford University Press. (Scholar)
- –––, 2006, “Critical Study: Deeper Than Emotion”, British Journal of Aesthetics, 46: 287–311. (Scholar)
- Langer, S., 1953, Feeling and Form, London: Routledge & Kegan Paul. (Scholar)
- Lerdahl, F. and R. Jackendoff, 1983, A Generative Theory of Tonal Music, Cambridge, MA: MIT Press. (Scholar)
- Levinson, J., 1980, “What a Musical Work Is”, reprinted in Levinson 1990a, pp. 63–88. (Scholar)
- –––, 1982, “Music and Negative Emotion”, reprinted in Levinson 1990a, pp. 306–35. (Scholar)
- –––, 1984, “Hybrid Art Forms”, reprinted in Levinson 1990a, pp. 26–36. (Scholar)
- –––, 1987, “Song and Music Drama”, reprinted in Levinson 1996a, pp. 42–59. (Scholar)
- –––, 1990a, Music, Art, and Metaphysics, Ithaca, NY: Cornell University Press. (Scholar)
- –––, 1990b, “The Concept of Music”, in Levinson 1990a, pp. 267–78. (Scholar)
- –––, 1990c, “What a Musical Work Is, Again”, in Levinson 1990a, pp. 215–63. (Scholar)
- –––, 1990d, “Authentic Performance and Performance Means”, in Levinson 1990a, pp. 393–408. (Scholar)
- –––, 1990e, “Musical Literacy”, reprinted in Levinson 1996a, pp. 27–41. (Scholar)
- –––, 1990f, “Evaluating Musical Performance”, in Levinson 1990a, pp. 376–92. (Scholar)
- –––, 1992, “Pleasure and the Value of Works of Art”, reprinted in Levinson 1996a, pp. 11–24. (Scholar)
- –––, 1996a, The Pleasures of Aesthetics, Ithaca, NY: Cornell University Press. (Scholar)
- –––, 1996b, “Musical Expressiveness”, in Levinson 1996a, pp. 90–125. (Scholar)
- –––, 1996c, “Film Music and Narrative Agency”, reprinted in Levinson 2006a, pp. 143–83. (Scholar)
- –––, 1997, Music in the Moment, Ithaca, NY: Cornell University Press. (Scholar)
- –––, 1999, “Reply to commentaries on Music in the Moment”, Music Perception, 16: 485–94. (Scholar)
- –––, 2006a, Contemplating Art: Essays in Aesthetics, Oxford: Oxford University Press. (Scholar)
- –––, 2006b, “Concatenationism, Architectonicism, and the Appreciation of Music”, Revue Internationale de Philosophie, 60: 505–14. (Scholar)
- –––, 2006c, “Musical Expressiveness as Hearability-as-expression”, in Contemporary Debates in Aesthetics and the Philosophy of Art, M. Kieran (ed.), Malden, MA: Blackwell, pp. 192–206. (Scholar)
- Matravers, D., 1998, Art and Emotion, Oxford: Clarendon. (Scholar)
- –––, 2011, “Arousal Theories”, in Gracyk & Kania 2011, pp. 212–22. (Scholar)
- Meyer, L., 1956, Emotion and Meaning in Music, Chicago, IL: University of Chicago Press. (Scholar)
- Predelli, S., 1995, “Against Musical Platonism”, British Journal of Aesthetics, 35: 338–50. (Scholar)
- –––, 1999a, “Goodman and the Score”, British Journal of Aesthetics, 39: 138–47. (Scholar)
- –––, 1999b, “Goodman and the Wrong Note Paradox”, British Journal of Aesthetics, 39: 364–75. (Scholar)
- –––, 2001, “Musical Ontology and the Argument from Creation”, British Journal of Aesthetics, 41: 279–92. (Scholar)
- –––, 2009, “Ontologese and Musical Nihilism”, British Journal of Aesthetics, 49: 179–83. (Scholar)
- Radford, C., 1989, “Emotions and Music: A Reply to the Cognitivists”, Journal of Aesthetics and Art Criticism, 47: 69–76. (Scholar)
- –––, 1991, “Muddy Waters”, Journal of Aesthetics and Art Criticism, 49: 247–52. (Scholar)
- Ridley, A., 1993, “Bleeding Chunks: Some Remarks about Musical Understanding”, Journal of Aesthetics and Art Criticism, 51: 589–96. (Scholar)
- –––, 1995, Music, Value and the Passions, Ithaca, NY: Cornell University Press. (Scholar)
- –––, 2003a, “Against Musical Ontology”, Journal of Philosophy, 100: 203–20. (Scholar)
- –––, 2003b, “Expression”, in The Oxford Handbook of Aesthetics, J. Levinson (ed.), Oxford: Oxford University Press, pp. 211–27. (Scholar)
- –––, 2004, The Philosophy of Music: Theme and Variations, Edinburgh: Edinburgh University Press. (Scholar)
- –––, 2007, “Persona Sometimes Grata: On the Appreciation of Expressive Music”, in Philosophers on Music: Experience, Meaning, Work, K. Stock (ed.), Oxford: Oxford University Press, pp. 130–46. (Scholar)
- Robinson, J., 1994, “The Expression and Arousal of Emotion in Music”, Journal of Aesthetics and Art Criticism, 52: 13–22. (Scholar)
- –––, 2005, Deeper than Reason: Emotion and its Role in Literature, Music, and Art, Oxford: Oxford University Press. (Scholar)
- –––, 2011, “Expression Theories”, in Gracyk & Kania 2011, pp. 201–11. (Scholar)
- Rohrbaugh, G., 2003, “Artworks as Historical Individuals”, European Journal of Philosophy, 11: 177–205. (Scholar)
- Rudner, R., 1950, “The Ontological Status of the Esthetic Object”, Philosophy and Phenomenological Research, 10: 380–8. (Scholar)
- Sartre, J.-P., 1940, The Psychology of Imagination, translator unrecorded, New York, NY: Philosophical Library. (Scholar)
- Scruton, R., 1983, “Understanding Music”, in The Aesthetic Understanding: Essays in the Philosophy of Art and Culture; references are to the Carthage reprint (1998), South Bend, IN: St. Augustine's Press, pp. 88–115. (Scholar)
- –––, 1997, The Aesthetics of Music, Oxford: Oxford University Press. (Scholar)
- –––, 2004, “Musical Movement: A Reply to Budd”, British Journal of Aesthetics, 44: 184–7. (Scholar)
- –––, 2007, “Thoughts on Rhythm”, in Philosophers on Music: Experience, Meaning, and Work, K. Stock (ed.), Oxford: Oxford University Press, pp. 226–55. (Scholar)
- Sharpe, R. A., 1982, Review of Peter Kivy, The Corded Shell, British Journal of Aesthetics, 22: 81–2. (Scholar)
- –––, 2000, Music and Humanism: An Essay in the Aesthetics of Music, Oxford: Oxford University Press. (Scholar)
- Smith, J., 1996, “Unheard Melodies? A Critique of Psychoanalytic Theories of Film Music”, in Post-Theory: Reconstructing Film Studies, D. Bordwell and N. Carroll (eds.), Madison, WI: University of Wisconsin Press, pp. 230–47. (Scholar)
- Stecker, R., 2003, Interpretation and Construction: Art, Speech, and the Law, Malden, MA: Blackwell. (Scholar)
- –––, 2009, “Methodological Questions about the Ontology of Music”, Journal of Aesthetics and Art Criticism, 67: 375–86. (Scholar)
- Sterritt, D., 2000, “Revision, Prevision, and the Aura of Improvisatory Art”, Journal of Aesthetics and Art Criticism, 58: 163–72. (Scholar)
- Thomasson, A., 2004a, “The Ontology of Art”, in The Blackwell Guide to Aesthetics, P. Kivy (ed.), Malden, MA: Blackwell, pp. 78–92. (Scholar)
- –––, 2004b, “Roman Ingarden”, The Stanford Encyclopedia of Philosophy (Spring 2004 Edition), Edward N. Zalta (ed.), URL = <http://plato.stanford.edu/archives/spr2004/entries/ingarden/>. (Scholar)
- –––, 2005, “The Ontology of Art and Knowledge in Aesthetics”, Journal of Aesthetics and Art Criticism, 63: 221–9. (Scholar)
- –––, 2006, “Debates about the Ontology of Art: What Are We Doing Here?”, Philosophy Compass, 1: 245–55. (Scholar)
- Tillman, C., 2011, “Musical Materialism”, British Journal of Aesthetics, 51: 13–29. (Scholar)
- Tolstoy, L., 1898, What is Art?, R. Pevear and L. Volokhonsky (trans.), London: Penguin (1995). (Scholar)
- Tormey, A., 1971, The Concept of Expression: A Study in Philosophical Psychology and Aesthetics, Princeton, NJ: Princeton University Press. (Scholar)
- Trivedi, S., 2002, “Against Musical Works as Eternal Types”, British Journal of Aesthetics, 42: 73–82. (Scholar)
- Urmson, J. O., 1973, “Representation in Music”, in Philosophy and the Arts, London: Macmillan, pp. 132–46. (Scholar)
- Valone, J., 1985, “Musical Improvisation as Interpretive Activity”, Journal of Aesthetics and Art Criticism, 44: 193–4. (Scholar)
- Walton, K., 1970, “Categories of Art”, Philosophical Review, 79: 334–67. (Scholar)
- –––, 1988, “The Presentation and Portrayal of Sound Patterns”, in Human Agency: Language, Duty, and Value, J. Dancy, J. M. E. Moravcsik, and C. C. W. Taylor (eds.), Stanford, CA: Stanford University Press, pp. 237–57. (Scholar)
- –––, 1990, Mimesis as Make-Believe: On the Foundations of the Representational Arts, Cambridge, MA: Harvard University Press. (Scholar)
- Wollheim, R., 1968, Art and its Objects; references are to the second edition, with six supplementary essays, Cambridge: Cambridge University Press (1980). (Scholar)
- Wolterstorff, N., 1980, Works and Worlds of Art, Oxford: Clarendon Press. (Scholar)
- –––, 1987, “The Work of Making a Work of Music”, in What is Music?, P. Alperson (ed.), New York, NY: Haven, pp. 101–29. (Scholar)
- Young, J., 1988, “The Concept of Authentic Performance”, British Journal of Aesthetics, 28: 228–38. (Scholar)
- Young, J. and C. Matheson, 2000, “The Metaphysics of Jazz”, Journal of Aesthetics and Art Criticism, 58: 125–34. (Scholar)
- Zangwill, N., 2004, “Against Emotion: Hanslick Was Right About Music”, British Journal of Aesthetics, 44: 29–43. (Scholar)
- –––, 2007, “Music, Metaphor, and Emotion”, Journal of Aesthetics and Art Criticism, 65: 391–400. (Scholar)
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