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  1. Dirección Coral y Técnica Vocal, ¿Un diálogo posible? Reflexiones metodológicas para un trabajo vocal eficiente.Nicolás Alessandroni & Esteban Etcheverry - 2011 - European Review of Artistic Studies 3 (2):1-11.
    Hace 60 años el funcionamiento de la voz en tanto instrumento regido por las leyes acústicas e inscripto en el cuerpo humano, y por lo tanto, gobernado por los mecanismos fisiológicos, era un misterio. Hoy en día, gracias a los avances de la ciencia, es posible (y resulta inevitable) presentar la voz desde una perspectiva sólidamente fundamentada. La práctica coral es práctica vocal, y por lo tanto, para el director coral resulta fundamental estar familiarizado con los nuevos conocimientos disponibles en (...)
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  2. Literature and the Passing of Time: Reflecting on the Temporal Nature of Art.Derek Allan - manuscript
    The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.
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  3. Paganini Does Not Repeat. Musical Improvisation and the Type/Token Ontology.Bertinetto Alessandro - 2012 - Teorema: International Journal of Philosophy 31 (3):105-126.
    This paper explores the ontology of musical improvisation (MI). MI, as process in which creative and performing activities are one and the same generative occurrence, is contrasted with the most widespread conceptual resource used in inquiries about music ontology of the Western tradition: the type/token duality (TtD). TtD, which is used for explaining the relationship between musical works (MWs) and performances, does not fit for MI. Nonetheless MI can be ontologically related to MWs. A MW can ensue from MI and (...)
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  4. The New Oxford History of Music, 2: The Early Middle Ages to 1300.Richard Crocker, David Hiley.Thomas Binkley - 1993 - Speculum 68 (3):742-744.
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  5. Zorn: Avant/Après/Passé.John Lowell Brackett - 2012 - Avant: Trends in Interdisciplinary Studies 3 (T):316-323.
    Witold Wachowski’s brief exchange with John Zorn provides us with many valuable insights relating to the composer’s aesthetic. Zorn’s professed antipathy towards audiences, his faith in the creative instinct of the “artist,” and his belief in the transcendental nature of musical works (as a gateway into a world of “truth” and “beauty”) are all refrains commonly encountered in many interviews with the composer. Given the fact that Zorn emphasizes these themes in his very short interview with Wachowski, we can assume (...)
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  6. Critical Review of 'Practicing Perfection: Memory & Piano Performance'.Wayne Christensen, Doris McIlwain, John Sutton & Andrew Geeves - 2008 - Empirical Musicology Review 3 (3).
    How do concert pianists commit to memory the structure of a piece of music like Bach’s Italian Concerto, learning it well enough to remember it in the highly charged setting of a crowded performance venue, yet remaining open to the freshness of expression of the moment? Playing to this audience, in this state, now, requires openness to specificity, to interpretation, a working dynamicism that mere rote learning will not provide. Chaffin, Imreh and Crawford’s innovative and detailed research suggests that the (...)
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  7. A Pathway Towards Music Art: The Meloethics. - Some Connections with the Phenomenology of Life -.Carmen Cozma - 2005 - Cultura 2 (2):85-90.
    Listening Music Listening to an art of music’s work! Something important happens to us. Why? Because our soul is touched and moved at its deepest levels. In contact with music, a spiritual tumult invades our entire being; and we are revealed to ourselves in a new and previously unknown way. Face to face with the harmonious sounds – giving music the status of an artistic “text” – we find opportunities – maybe the best possible – to unfold our unique capacity (...)
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  8. Music Practice and Participation for Psychological Well-Being: A Review of How Music Influences Positive Emotion, Engagement, Relationships, Meaning, and Accomplishment.Adam M. Croom - 2015 - Musicae Scientiae: The Journal of the European Society for the Cognitive Sciences of Music 19:44-64.
    In “Flourish,” Martin Seligman maintained that the elements of well-being consist of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes human flourishing or psychological well-being has remained a topic of continued debate among scholars, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would largely manifest most or all of the aforementioned PERMA factors. Further, in “A Neuroscientific Perspective on Music Therapy,” Stefan Koelsch also suggested (...)
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  9. Music, Neuroscience, and the Psychology of Wellbeing: A Précis.Adam M. Croom - 2012 - Frontiers in Theoretical and Philosophical Psychology 2 (393):393.
    In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted (...)
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  10. Musical References in Brucioli's Dialogi and Their Classical and Medieval Antecedents.Anthony M. Cummings - 2010 - Journal of the History of Ideas 71 (2):169-190.
  11. Messenger, R. E., The Medieval Latin Hymn.E. W. Degginger - 1954 - Classical World: A Quarterly Journal on Antiquity 48:136.
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  12. Arbeit am Kanon: Zu Hugo Wolfs Musikkritiken.Andreas Dorschel - 2007 - Musicologica Austriaca 26:43-52.
    Cultivation of the musical canon and canonisation of truly original work can be identified as guiding principles of both Hugo Wolf’s artistic and his critical practice. The latter is shaped by classicist tropes; they may serve strategic functions as well, yet cannot be reduced to them. While he rejects the merely old-fashioned, Wolf also leads a striking attack on what he terms “modern music”. His endorsed aesthetics intertwine the old and the new.
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  13. Über Kanonisierung.Andreas Dorschel - 2006 - Musiktheorie 21 (1):6-12.
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  14. ‘Best to Have the Opera House Bombarded’. An Unpublished Letter by Hugo Wolf.Andreas Dorschel - 2006 - Studia Musicologica 47 (2):233-240.
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  15. Das ‘Urteil der Geschichte’. Über ‘historische Gerechtigkeit’ in der Wertung musikalischer Werke.Andreas Dorschel - 2003 - Österreichische Musikzeitschrift 58 (2):6-17.
  16. The Biology and Evolution of Music: A Comparative Perspective.W. Tecumseh Fitch - 2006 - Cognition 100 (1):173-215.
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  17. La Constitution de l'Œuvre Musicale.R. Frances - 1951 - Les Etudes Philosophiques 6 (4):343 - 353.
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  18. Historische Uitvoeringspraktijk.Anton Froeyman - 2011 - de Uil Van Minerva 24 (1):21-38.
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  19. Musikalische Schlußbildung als philosophische Herausforderung Bach, Beethoven, Schönberg.Claudia Sophia Fuß - 2016
    Musikalische Schlußbildung gehört zu den zentralsten Themen in der Musikwissenschaft und führt in tiefere philosophische Bereiche, denn das Schließen und Enden ist an einem langen Ende für den Menschen auch mit dem schwierigen Rätsel des Todes verbunden. Ist dieses nicht gelöst, bleibt auch musikalisches Enden und Schließen eine ungeknackte Nuß. Bach, Beethoven und Schönberg haben, aufeinander aufbauend, drei Lösungskonzepte entwickelt.
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  20. The Political Art of Bob Dylan.John Gaffney - 2012 - Contemporary Political Theory 11 (1):e7 - e10.
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  21. Zur Kommunikation in kollektiv improvisierter Musik. Kommunikationstheoretische und interkulturelle Aspekte. Gansinger - 2010 - Südwestdeutscher Verlag für Hochschulschriften.
    In der musikalischen Methode der kollektiven Improvisation kommt eine Spielauffassung zum Ausdruck, deren demokratisch-emanzipatorische Grundeinstellung Vergleiche mit dem von Jürgen Habermas formulierten Konzept der idealen Sprechsituation nahe legt. Diese Vermutung wird im Rahmen einer einleitenden Annäherung an die kollektive Improvisation als von Interaktivität und Synchronizität geprägtes Beziehungsgeschehen näher ausgeführt. Nach einer Diskussion des improvisatorischen Handelns in der Musik in Bezug auf theoretische, historische und psychologische Aspekte werden die verschiedenen, aus dem Free Jazz der 1960er Jahre hervorgegangenen Entwicklungsstufen der freien bzw. (...)
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  22. Soziale Artikulation im US-HipHop. Kommunikationsstruktur einer sozialen Minderheit.Martin Gansinger - 2008 - VDM.
    Ausgehend von der immer wieder bemühten Metapher des Black CNN wird versucht, das Potenzial der musikalischen Ausdrucksform des HipHop als Kommunikationsstruktur der Schwarzen Minderheit in den USA zu analysieren. Nach einer historisch-kulturellen Erläuterung, die sich mit der Tradition der Reflektion sozialer und politischer Aspekte in den unterschiedlichen musikalischen Äußerungen der Schwarzen Volksgruppe in den USA beschäftigt und schon ansatzweise die Bedeutung dieser Ausdrucksmöglichkeit im Kontext eines internal colonialsm vor Augen führt, werden jene soziodemographischen Entwicklungen nachvollziehbar gemacht, die sich als zentraler (...)
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  23. Righteous Radicals on Heavy Rotation. A Cross-Case Study of the Bobo Shanti Rasta Mansion and its Representation in Jamaican Dancehall/Reggae in Regard to Five Percenter Ideology in US-Hip Hop.Martin A. M. Gansinger - forthcoming
    While US-Hip Hop has been attested considerable influence of the controversial Black supremacy movement Five Percent Nation, a similar pattern can be observed with the rigid Rastafarian doctrine of the Bobo Shanti Order and Jamaican Dancehall-Reggae. Considering the commercial relevance and global popularity of both musical styles, this study attempted to shed light on the question if either artists are using controversy for promotional agendas or it is them being used for missionary purposes in turn. A multi-layerd cross-case study based (...)
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  24. Husserl’s Time Consciousness in Regard to Extemporaneous Communication Preactices in Performing Arts and Traditional Knowledge Systems.Martin A. M. Gansinger - forthcoming - Immediate. Currents in Communication, Culture and Philosophy 2.
    This study is aiming at analyzing extemporaneous methods of instructional speech in the context of the Naqshbandi Sufi Order and its parallels with improvised music as well as potential for modern educational purposes. Focusing on a processual analysis covering the flow of events in the communication and its environment, the work is using approaches applied in performance studies as well as improvised music, as well as cognitive science and psychological perspectives concerned with the mechanisms of the subconsciousness. Field research data (...)
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  25. Aspekte von interkultureller Kommunikation in der Musik.Martin A. M. Gansinger - 2017 - Immediate. Currents in Communication, Culture and Philosophy 1 (2).
    Im institutionalisierten Bereich interkultureller Beziehungen kommt es permanent zu Bemühungen, über gemeinsame musikalische Projekte Brücken zum Austausch von Lebensrealitäten und Erfahrungen zu erzielen. In vielen Fällen besteht jedoch nicht die Gelegenheit des gegenseitigen Austausches, weil die beteiligten Akteure entweder nebeneinander agieren, ohne aufeinander einzugehen und die Impulse ihres Gegenübers in den eigenen Beiträgen zu reflektieren, oder aber eine der beiden Bestandteile den anderen dominiert, und keine entsprechende Gelegenheit zur gleichberechtigten Artikulation einräumt. Der Grund dafür liegt häufig in der Starrheit der (...)
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  26. Interdisziplinäre Aspekte zur Improvisation als kommunikatives Beziehungsgeschehen.Martin A. M. Gansinger - 2017 - Immediate. Currents in Communication, Culture and Philosophy 1 (2).
    Im Rahmen der folgenden Seiten sollen die Kommunikationsbedingungen im Kontext der Kollektiv-Improvisation genauer analysiert und einem Vergleich mit den Voraussetzungen der idealen Sprechsituation von Habermas unterzogen werden. Hinleitend dazu erfolgt zum Einstieg eine Darstellung jener Ausgangsbedingungen, welche die Methode der kollektiven Improvisation von herkömmlichen musikalischen Verfahren unterscheidet. Zu diesem Zweck werden neben einer kurzen Erläuterung der bereits im vorangegangenen Kapitel ausführlich diskutierten Ausgangsbedingungen u.a. Ansätze aus der Musiktherapie herangezogen, die sowohl soziale als auch politische Faktoren mit einbeziehen. Im Anschluss daran (...)
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  27. Zur Kommunikation in Kollektiv Improvisierter Musik. Kommunikationstheoretische Und Interkulturelle Aspekte.Martin A. M. Gansinger - 2010 - Südwestdeutscher Verlag für Hochschulschriften.
    In der musikalischen Methode der kollektiven Improvisation kommt eine Spielauffassung zum Ausdruck, deren demokratisch-emanzipatorische Grundeinstellung Vergleiche mit dem von Jürgen Habermas formulierten Konzept der idealen Sprechsituation nahe legt. Diese Vermutung wird im Rahmen einer einleitenden Annäherung an die kollektive Improvisation als von Interaktivität und Synchronizität geprägtes Beziehungsgeschehen näher ausgeführt. Nach einer Diskussion des improvisatorischen Handelns in der Musik in Bezug auf theoretische, historische und psychologische Aspekte werden die verschiedenen, aus dem Free Jazz der 1960er Jahre hervorgegangenen Entwicklungsstufen der freien bzw. (...)
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  28. "That's why they fear our jungle music" Die musikalische Ausdrucksform des HipHop in ihrer sozialen und politischen Bedeutung als Kommunikationsstruktur der Schwarzen Minderheit in den USA.Martin A. M. Gansinger - 2005 - Transfer. Online-Magazin Für Kommunikationswissenschaftliche Nachwuchsforschung 3.
    Ausgehend von der, von Journalisten und Musikern immer wieder bemühten Metapher des 'Black CNN' wird versucht, das Potenzial der musikalischen Ausdrucksform des HipHop als Kommunikationsstruktur der Schwarzen Minderheit in den USA zu analysieren. Nach einer historisch-kulturellen Erläuterung, die sich mit der Tradition der Reflektion sozialer und politischer Aspekte in den unterschiedlichen musikalischen Äußerungen der Schwarzen Volksgruppe in den USA beschäftigt und schon ansatzweise die Bedeutung dieser Ausdrucksmöglichkeit im Kontext eines 'internal colonialsm' vor Augen führt, werden jene soziodemographischen Entwicklungen nachvollziehbar gemacht, (...)
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  29. Nigerian Music and the Black Diaspora in the USA : African Identity, Black Power, and the Free Jazz of the 1960s.Martin A. M. Gansinger & Ayman Kole - 2016 - In Martin A. M. Gansinger & Ayman Kole (eds.), From Tribal to Digital - Effects of Tradition and Modernity on Nigerian Media and Culture. Scholars Press. pp. 15-44.
    This article is the attempt of an historically oriented analysis focused on the role of Nigerian music as a cultural hub for the export of African cultural influences into the Black diaspora in the United States and its anticipation by the Free Jazz/Avantgarde-scene as well as the import of key-values related to the Black Power-movement to the African continent. The aim is to demonstrate the leading role and international impact of Nigeria's cultural industry among sub-saharan African nation states and its (...)
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  30. Expanding Expertise: Investigating a Musician’s Experience of Music Performance.Andrew Geeves, Doris Mcllwain, John Sutton & Wayne Christensen - 2010 - ASCS09: Proceedings of the 9th Conference of the Australasian Society for Cognitive Science:106-113.
    Seeking to expand on previous theories, this paper explores the AIR (Applying Intelligence to the Reflexes) approach to expert performance previously outlined by Geeves, Christensen, Sutton and McIlwain (2008). Data gathered from a semi-structured interview investigating the performance experience of Jeremy Kelshaw (JK), a professional musician, is explored. Although JK’s experience of music performance contains inherently uncertain elements, his phenomenological description of an ideal performance is tied to notions of vibe, connection and environment. The dynamic nature of music performance advocated (...)
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  31. Ten Hip-Hop Tracks That Demand Freedom for Palestine.Carrie Giunta - 2014 - The Electronic Intifada.
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  32. John Zorn: Autonomy and the Avant-Garde.Ted Gordon - 2012 - Avant: Trends in Interdisciplinary Studies 3 (T):329-343.
    This essay is an excerpt for a larger paper exploring the concept of autonomy as it emerges in the life and work of the composer, performer, record label executive and club-owner John Zorn. Zorn’s activities over his wide-ranging career span from performing at jazz lofts in the 1970s to winning the MacArthur “genius” grant in 2008, while maintaining his status as a prolific composer and producer of avant-garde music. In interviews, documentaries, and in his music, Zorn often comments on his (...)
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  33. Wittgenstein, Modern Music, and the Myth of Progress.Eran Guter - forthcoming - In Ilkka Niiniluoto & Thomas Wallgren (eds.), On the Human Condition – Essays in Honour of Georg Henrik von Wright’s Centennial Anniversary, Acta Philosophica Fennica vol. 93. Helsinki: Societas Philosophica Fennica.
    Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...)
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  34. The Good, the Bad, and the Vacuous: Wittgenstein on Modern and Future Musics.Eran Guter - 2015 - Journal of Aesthetics and Art Criticism 73 (4):425-439.
    This article explains Wittgenstein's distinction between good, bad, and vacuous modern music which he introduced in a diary entry from January 27, 1931. I situate Wittgenstein's discussion in the context of Oswald Spengler's ideas concerning the decline of Western culture, which informed Wittgenstein's philosophical progress during his middle period, and I argue that the music theory of Heinrich Schenker, and Wittgenstein's critique thereof, served as an immediate link between Spengler's cultural pessimism and Wittgenstein's threefold distinction. I conclude that Wittgenstein's distinction (...)
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  35. Wittgenstein on Mahler.Eran Guter - 2013 - In Danièle Moyal-Sharrock, Volker A. Munz & Annalisa Coliva (eds.), Mind, Language and Action: Contributions to the 36th International Wittgenstein Symposium. Austrian Ludwig Wittgenstein Society.
    In this paper I explain Wittgenstein’s ambivalent remarks on the music of Gustav Mahler in their proper musico-philosophical context. I argue that these remarks are connected to Wittgenstein’s hybrid conception of musical decline and to his tripartite scheme of modern music. I also argue that Mahler’s conundrum was indicative of Wittgenstein’s grappling with his own predicament as a philosopher, and that this gives concrete sense to Wittgenstein’s admission that music was so important to him that without it he was sure (...)
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  36. The Nuts and Bolts of Arts Management: A Discussion on a Recent Handbook in the Field. [REVIEW]Cristian Hainic - 2011 - Journal for Communication and Culture 1 (2):167-170.
    Brindle, Meg and Constance DeVereaux, eds. The Arts Management Handbook: New Directions for Students and Practitioners. Armonk, New York: M.E. Sharpe, 2011.
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  37. The Capacity for Music: What is It, and What’s Special About It?Ray Jackendoff & Fred Lerdahl - 2006 - Cognition 100 (1):33-72.
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  38. Neoliberal Noise: Attali, Foucault, & the Biopolitics of Uncool.Robin James - 2014 - Culture, Theory, and Critique 52 (2):138-158.
    Is it even possible to resist or oppose neoliberalism? I consider two responses that translate musical practices into counter-hegemonic political strategies: Jacques Attali’s theory of “composition” and the biopolitics of “uncool.” Reading Jacques Attali’s Noise through Foucault’s late work, I argue that Attali’s concept of “repetition” is best understood as a theory of neoliberal biopolitics, and his theory composition is actually a model of deregulated subjectivity. Composition is thus not an alternative to neoliberalism but its quintessence. An aesthetics and ethos (...)
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  39. From "No Future" to "Delete Yourself ".Robin James - 2013 - Journal of Popular Music Studies 25 (4).
    Beginning with the role of the Sex Pistols’s “God Save the Queen” in Lee Edelman and J. Jack Halberstam’s debates about queer death and failure, I follow a musical motive from the Pistols track to its reappearance in Atari Teenage Riot’s 1995 “Delete Yourself .” In this song, as in much of ATR’s work from the 1990s, overlapping queer and Afro-diasporic aesthetics condense around the idea of death or “bare life.” ATR’s musical strategies treat this death as a form of (...)
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  40. Proportional Relationship in the Segmentation Masses of Obrecht and its Influence on Form and Structure.Ralph Jarzombek - manuscript
    Proportional relationships of simple numbers were commonly used in architecture during the Renaissance period. These proportional relationships were based on the primary musical consonances of the Greek musical system: the octave (2:1), fifth (3:2), and fourth (4:3). In a similar manner, Obrecht uses the proportional relationships created by periods of rest and the last notes of the cantus firmus segments. These proportional relationships are found in the same voice as the cantus firmus, and appear when the statements of the cantus (...)
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  41. James Brown, Sample Culture, and the Permanent Distance of Glory.Steve Jones - 2009 - Fibreculture 15.
    James Brown’s ‘I’m Real’ (1988) contains numerous lyrics regaled from James Brown’s earlier hits (including ‘Make it Funky’ (1971)) and also James Brown vocal samples from ‘Get Up (I Feel Like Being a) Sex Machine’ (1970) and ‘Get on the Good Foot’ (1972). But why sample James Brown’s voice when the man himself was in the studio recording a vocal? What purpose could it serve, especially when he was already replicating moments from previous hits? This article investigates that chronologic duality. (...)
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  42. What Can Music Tell Us About the Nature of the Mind? A Platonic Model.Brian D. Josephson & Tethys Carpenter - 1996 - In Stuart R. Hameroff, Alfred W. Kaszniak & Alwyn C. Scott (eds.), Toward a Science of Consciousness. MIT Press.
    We present an account of the phenomenon of music based upon the hypothesis that there is a close parallel between the mechanics of life and the mechanics of mind, a key factor in the correspondence proposed being the existence of close parallels between the concepts of gene and musical idea. The hypothesis accounts for the specificity, complexity, functionality and apparent arbitrariness of musical structures. An implication of the model is that music should be seen as a phenomenon of transcendental character, (...)
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  43. Wagner und Hanslick. Kurze Geschichte einer Feindschaft.Christian Jung - 2012 - Österreichische Musikzeitschrift 67 (6):14-21.
    The controversy between Richard Wagner and his critic Eduard Hanslick is well known, but rarely looked at in detail. It is mostly believed that Hanslick was unable to see Wagner's genius, stuck deeply in an antiquated aesthetical world. By reassessing Wagner's and Hanslick's letters and publications it can be seen, however, that Hanslick's detailed criticism (and also appreciation) was much more objective and less spiteful than is often assumed.
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  44. DVD Review of "Memory:Video Poetry" by Synaptic Graffiti Collective. [REVIEW]Gerald Keaney - 2011 - Overland 202:Free online.
    In this review I compare the short video poetry on the DVD to music video clips such as are used to promote rock music.
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  45. Musicality and the Evolution of Mind, Mimesis, and Entrainment.Anton Killin - 2016 - Biology and Philosophy 31 (3):421-434.
    In A Million Years of Music, Gary Tomlinson develops an extensive evolutionary narrative that emphasises several important components of human musicality and proposes a theory of the coalescence of these components. In this essay I tie some of Tomlinson’s ideas to five constraints on theories of music’s evolution. This provides the framework for organising my reconstruction of his model. Thereafter I focus on Tomlinson’s description of ‘entraining’ Acheulean toolmakers and offer several criticisms. I close with some tentative proposals for further (...)
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  46. Rethinking Music's Status as Adaptation Versus Technology: A Niche Construction Perspective.Anton Killin - 2016 - Ethnomusicology Forum 25 (2):210-233.
    In this article I critique F. R. S. Lawson's evolutionary theorising about music that appeared in a recent issue of Ethnomusicology Forum. Moreover, I argue that asking whether music is an adaptation or technology, as Lawson does, artificially splits the interwoven, dynamic co-evolutionary forces at work. In my view, in cases of complex, dynamic co-evolution, the distinction between the ‘biological’ and the ‘cultural’ is undermined. I suggest that human musicality is one such example, calling into question the adaptation/technology distinction that (...)
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  47. Musicality in Human Evolution, Archaeology and Ethnography.Anton Killin - 2014 - Biology and Philosophy 29 (4):597-609.
    This essay reviews Iain Morley’s The Prehistory of Music, an up-to-date and authoritative overview of recent research on evolution and cognition of musicality from an interdisciplinary viewpoint. Given the diversity of the project explored, integration of evidence from multiple fields is particularly pressing, required for any novel evolutionary account to be persuasive, and for the project’s continued progress. Moreover, Morley convincingly demonstrates that there is much more to understanding musicality than is supposed by some theorists. I outline Morley’s review of (...)
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  48. Olivier Messiaen's "Catalogue d'Oiseaux" for Solo Piano: A Phenomenological Analysis and Performance Guide.Paul Sung Il Kim - 1989 - Dissertation, New York University
    This study analyzes Messiaen's Catalogue d'Oiseaux for solo piano in order to formulate a performance guide. The unusual subject matter of birdsong within these pieces translates to innovative compositional techniques, demanding significant reorientation of the performer's approach to this music. ;After the general introduction of the first chapter, Chapter II presents an overview of Messiaen's life and music. The sections are divided into: a brief biography, representative works, music for solo piano, and birdsong compositions. The last two aspects are observed (...)
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  49. Studies in the Performance of Late Medieval Music. Stanley Boorman.David N. Klausner - 1986 - Speculum 61 (3):618-620.
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  50. Some Capuchin Views of, and Contributions to Sacred Music.Aloysius Knoll - 1959 - Franciscan Studies 19 (3-4):325-333.
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