Hearing

Edited by Casey O'Callaghan (Washington University in St. Louis)
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  1. Sounds Like City.S. Arkette - 2004 - Theory, Culture and Society 21 (1):159-168.
    Our cultural climate is increasingly dependent upon visual space. Media and communication for the most part are exemplified through television and the Internet. Aural space has, for the moment, become an ambient presence. The aim of this article is to develop a phenomenological approach to interpreting our sonic environment by drawing upon a range of sound-scape theorists. I will, in some cases, provide a counter-argument to established theses, and in doing so endeavour to open up fresh debate for future sonic (...)
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  2. What is Pitch?A Note on the Dissociation of Language and Nature.Karl Aschenbrenner - 1972 - Inquiry : An Interdisciplinary Journal of Philosophy 15 (1-4):458 – 462.
    Terms for the pitch of tones, such as 'high-low' do not describe pitch and can interfere with our apprehending such data for what they are in their sensuous uniqueness. Very different alternatives such as 'narrow-broad' or French aigu-grave serve equally well. In listening to music the first requisite is the apprehension of 'uncategorized' tones, the words for them serving only as a way of marking the fact of their differences. This must lead us to reaffirm what was said by Gorgias (...)
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  3. Towards a Genealogy of the Metaphysics of Sight: Seeing, Hearing, and Thinking in Heraclitus and Parmenides.Jussi Backman - 2015 - In Antonio Cimino & Pavlos Kontos (eds.), Phenomenology and the Metaphysics of Sight. Brill. pp. 11-34.
    The paper outlines a tentative genealogy of the Platonic metaphysics of sight by thematizing pre-Platonic thought, particularly Heraclitus and Parmenides. By “metaphysics of sight” it understands the features of Platonic-Aristotelian metaphysics expressed with the help of visual metaphors. It is argued that the Platonic metaphysics of sight can be regarded as the result of a synthesis of the Heraclitean and Parmenidean approaches. In pre-Platonic thought, the visual paradigm is still marginal. For Heraclitus, the basic structure of being is its discursive (...)
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  4. Seeing the Voices, Hearing the Sights: Perceptual Distortions in Boll, Bachmann and Celan.Michal Ben-Horin - 2007 - In Karin Leonhard & Silke Horstkotte (eds.), Seeing Perception. Cambridge Scholars Press.
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  5. Sensory Cues in Pitch Judgment.Lawrence M. Brammer - 1951 - Journal of Experimental Psychology 41 (5):336.
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  6. In Defense of Hearing Meanings.Berit Brogaard - forthcoming - Synthese:1-17.
    According to the inferential view of language comprehension, we hear a speaker’s utterance and infer what was said, drawing on our competence in the syntax and semantics of the language together with background information. On the alternative perceptual view, fluent speakers have a non-inferential capacity to perceive the content of speech. On this view, when we hear a speaker’s utterance, the experience confers some degree of justification on our beliefs about what was said in the absence of defeaters. So, in (...)
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  7. Association Learning and Pitch Perception.Robert S. Bundy, John Colombo & Patricia Warnick-Yarmel - 1989 - Bulletin of the Psychonomic Society 27 (3):234-236.
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  8. The Ockhamization of the Event Sources of Sound.R. Casati, E. Di Bona & J. Dokic - 2013 - Analysis 73 (3):462-466.
    There is one character too many in the triad sound, event source, thing source. As there are neither phenomenological nor metaphysical grounds for distinguishing sounds and sound sources, we propose to identify them.
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  9. La Philosophie du Son.Roberto Casati & Jérôme Dokic - unknown
    We discuss the distinction between the sensory modalities; the metaphysics of sounds; and the structure of sound space. We defend a physicalist conception of sounds, without accepting the identification of sounds with sound-waves in the medium. Sounds, we hold, are events in resonating objects. We evaluate the two main accounts of orientation in perceptual space: relationism and absolutism. We then address Strawson's problem of whether the logical space of sounds could be spatial in the full sense of the term. In (...)
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  10. Sound Reasoning : Prospects and Challenges of Current Acoustic Logics.Marc Champagne - 2015 - Logica Universalis 9 (3):331-343.
    Building on the notational principles of C. S. Peirce’s graphical logic, Pietarinen has tried to develop a propositional logic unfolding in the medium of sound. Apart from its intrinsic interest, this project serves as a concrete test of logic’s range. However, I argue that Pietarinen’s inaugural proposal, while promising, has an important shortcoming, since it cannot portray double-negation without thereby portraying a contradiction.
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  11. The Modern Auditory I.Steven Connor - 1997 - In Roy Porter (ed.), Rewriting the Self: Histories From the Renaissance to the Present. Routledge. pp. 203--23.
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  12. The Perception of Pitch.Thomas Stainsby & Cross & Ian - 2011 - In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oxford University Press.
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  13. Des Images Suggérées Par l'Audition Musicale.Lionel Dauriac - 1902 - Revue Philosophique de la France Et de l'Etranger 54:488 - 503.
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  14. The Representational Content of Musical Experience.Mark DeBellis - 1991 - Philosophy and Phenomenological Research 51 (June):303-24.
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  15. Towards a Rich View of Auditory Experience.E. Di Bona - 2017 - Philosophical Studies 174 (11):2629-2643.
    In this paper I will argue that the gender properties expressed by human voices are part of auditory phenomenology. I will support this claim by investigating auditory adaptational effects on such properties and contrasting auditory experiences, before and after the adaptational effects take place. In light of this investigation, I will conclude that auditory experience is not limited to low-level properties. Perception appears to be much more informative about the auditory landscape than is commonly thought.
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  16. The Method of Contrast and the Perception of Causality in Audition.E. Di Bona - 2014 - In Fabio Bacchini at al (ed.), New Advances in Causation, Agency and Moral Responsibility. pp. 79-93.
    The method of contrast is used within philosophy of perception in order to demonstrate that a specific property could be part of our perception. The method is based on two passages. I argue that the method succeeds in its task only if the intuition of the difference, which constitutes the core of the first passage, has two specific traits. The second passage of the method consists in the evaluation of the available explanations of this difference. Among the three outlined options, (...)
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  17. Some Considerations on Pitch.E. Di Bona - 2013 - Phenomenology and Mind 4:244-54.
    Pitch is an audible quality of sound which can be explained not only in terms of strong correlation with sound waves’ properties, but also by a neat correlation to the properties of the sounding object. This seems to be in favour of the theory of sound labelled “distal view”, according to which sound is the vibration of the sounding object.
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  18. Music and Pain.Andreas Dorschel - 2011 - In Jane Fulcher (ed.), The Oxford Handbook of the New Cultural History of Music. Oxford University Press. pp. 68-79.
    Ancient mythology related music to pain in a twofold way. Pain is the punishment inflicted for producing inferior music: the fate of Marsyas; music is sublimation of pain: the achievement of Orpheus and of Philomela. Both aspects have played defining roles in Western musical culture. Pain’s natural expression is the scream. To be present in music at all, pain needs to be transformed. So even where music expresses pain, at the same time it appeases that very pain. Unlike the scream, (...)
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  19. Musik und Schmerz.Andreas Dorschel - 2008 - Musiktheorie 23 (3):257-263.
    Ancient mythology related music to pain in a twofold way. Pain is the punishment inflicted for producing inferior music: the fate of Marsyas; music is sublimation of pain: the achievement of Orpheus and of Philomela. Both aspects have played defining roles in Western musical culture. Pain’s natural expression is the scream. To be present in music at all, pain needs to be transformed. So even where music expresses pain, at the same time it appeases that very pain. Unlike the scream, (...)
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  20. Reading Strategies: Hearing Echoes.Stephen C. Doty - 1991 - Heidegger Studies 7:127-135.
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  21. Pitch Characteristics of Short Tones. II. Pitch as a Function of Tonal Duration.J. M. Doughty & W. R. Garner - 1948 - Journal of Experimental Psychology 38 (4):478.
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  22. Pitch Characteristics of Short Tones. I. Two Kinds of Pitch Threshold.J. M. Doughty & W. R. Garner - 1947 - Journal of Experimental Psychology 37 (4):351.
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  23. Strategies of Absolute Pitch Possessors in the Learning of an Unfamiliar Scale.Kathryn E. Eaton & Michael H. Siegel - 1976 - Bulletin of the Psychonomic Society 8 (4):289-291.
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  24. Storage and Decay Characteristics of Nonattended Auditory Stimuli.Charles W. Eriksen & Harold J. Johnson - 1964 - Journal of Experimental Psychology 68 (1):28.
  25. Speech Sounds and Features.Gunnar Fant - 1976 - Foundations of Language 14 (4):597-600.
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  26. Hearing Voices or Hearing the Self in Disguise? Revealing the Neural Correlates of Auditory Hallucinations in Schizophrenia.C. Fu & P. McGuire - 2003 - In Tilo Kircher & Anthony S. David (eds.), The Self in Neuroscience and Psychiatry. Cambridge University Press. pp. 425--435.
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  27. Information Transmission of 3.1 Bits in Absolute Identification of Auditory Pitch.Ante Fulgosi & Bozo Zaja - 1975 - Bulletin of the Psychonomic Society 6 (4):379-380.
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  28. On the Electrical Excitability of the Auditory Organ on the Effect of Alternating Currents on the Normal Auditory Apparatus.G. V. Gersuni & A. A. Volokhov - 1936 - Journal of Experimental Psychology 19 (3):370.
  29. Ihde's Auditory Phenomena and Descent Into the Objective.Walter Robert Goedecke - 1971 - Philosophy Today 15 (3):175-180.
  30. Books Etcetera-Hearing by Eye II: Advances in the Psychology of Speechreading and Auditory-Visual Speech.Ken W. Grant - 1999 - Trends in Cognitive Sciences 3 (8):318.
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  31. Hearing by Eye II: Advances in the Psychology of Speechreading and Auditory–Visual Speech, Edited by Ruth Campbell, Barbara Dodd, and Denis Burnham.Ken W. Grant - 1999 - Trends in Cognitive Sciences 3 (8):319-320.
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  32. Book Review: Sounds: A Philosophical Theory; Sounds and Perception: New Philosophical Essays.A. Gritten - 2012 - British Journal of Aesthetics 52 (4):430-434.
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  33. Changes in the Pitch of Tones When Melodies Are Repeated.J. P. Guilford & H. M. Nelson - 1936 - Journal of Experimental Psychology 19 (2):193.
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  34. The Pitch of Tones in Melodies as Compared with Single Tones.J. P. Guilford & Helen M. Nelson - 1937 - Journal of Experimental Psychology 20 (4):309.
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  35. A Note on Auditory Theories.Ralph H. Gundlach - 1927 - Journal of Experimental Psychology 10 (1):64-66.
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  36. The Locus of Short Duration Auditory Fatigue or "Adaptation".J. Donald Harris & Anita I. Rawnsley - 1953 - Journal of Experimental Psychology 46 (6):457.
  37. Hearing Things.David Hodge - 2001 - Newsletter of the Society for the Advancement of American Philosophy 29 (89):32-34.
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  38. Listening and Voice. Phenomenologies of Sound.Don Ihde - 2007 - Suny Press.
    Listening and Voice is an updated and expanded edition of Don Ihde's groundbreaking 1976 classic in the study of sound.
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  39. On Hearing Shapes, Surfaces and Interiors.Don Ihde - 1982 - In Phenomenology Dialogues & Bridges. SUNY Press.
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  40. Listening And Voice: A Phenomenology Of Sound.Don Ihde - 1976 - Ohio University Press.
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  41. Some Auditory Phenomena.Don Ihde - 1966 - Philosophy Today 10 (4):227-235.
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  42. A Study of Differential Pitch Sensitivity Relative to Auditory Theory.C. C. Irwin - 1937 - Journal of Experimental Psychology 21 (6):642.
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  43. Sound-Imitation Word Recognition for Environmental Sounds.Kazushi Ishihara, Kazunori Komatani, Tetsuya Ogata & Hiroshi G. Okuno - 2005 - Transactions of the Japanese Society for Artificial Intelligence 20:229-236.
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  44. Perfect Pitch.H. Johanse-Berg - 2001 - Trends in Cognitive Sciences 5 (4):138.
  45. Generalization of a Reference Scale for Judging Pitch.Donald M. Johnson - 1949 - Journal of Experimental Psychology 39 (3):316.
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  46. Aristotle on Sounds.Mark A. Johnstone - 2013 - British Journal for the History of Philosophy 21 (5):631-48.
    In this paper I consider two related issues raised by Aristotle 's treatment of hearing and sounds. The first concerns the kinds of changes Aristotle takes to occur, in both perceptual medium and sense organs, when a perceiver hears a sounding object. The second issue concerns Aristotle 's views on the nature and location of the proper objects of auditory perception. I argue that Aristotle 's views on these topics are not what they have sometimes been taken to be, and (...)
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  47. Does the ‘Missing Fundamental’ Require an Inferentialist Explanation?J. A. Judge - 2017 - Topoi 36 (2):319-329.
    In arbitrating between representational and relational theories of perception, perceptual illusions—cases in which a subject’s perceptual experience diverges from the way the world really is—constitute an important battleground. The debate has, however, been dominated by discussions of visual perception. In attempting to extend the debate to audition, it is appropriate to start by considering what is thought to be a key case of auditory illusion. I consider the phenomenon of the ‘missing fundamental’, as well as examining a notion that is (...)
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  48. Sound and Image.Mark Eli Kalderon - forthcoming - In Christoph Limbeck & Friedrich Stadler (eds.), Publications of the Austrian Ludwig Wittgenstein Society. De Gruyter.
    We hear sounds, and their sources, and their audible qualities. Sounds and their sources are essentially dynamic entities, not wholly present at any given moment, but unfolding through their temporal interval. Sounds and their sources, essentially dynamic entities, are the bearers or susbtrata of audible qualities. Audible qualities are qualities essentially sustained by activity. The only bearers of audible qualities present in auditory experience are essentially dynamic entities. Bodies are not, in this sense, essentially dynamic entities and so are not (...)
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  49. Review of Matthew Nudds, Casey O'Callaghan (Eds.), Sounds and Perception: New Philosophical Essays[REVIEW]Andrew Kania - 2010 - Notre Dame Philosophical Reviews 2010 (8).
    Review of Matthew Nudds and Casey O'Callaghan (eds.), _Sounds and Perception: New Philosophical Essays_.
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  50. A Simplified Oscillator Suitable for Auditory Research and Audiometry.P. Kellaway & G. Brighouse - 1943 - Journal of Experimental Psychology 33 (6):514.
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