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  1. Of Mozart, Parrots and Cherry Blossoms in the Wind: A Composer Explores Mysteries of the Musical Mind.Bruce Adolphe - 1999 - Limelight Editions.
    The exhilarating mix of humor, philosophy, fact and whimsy that marks these essays derives from more than 200 lectures Bruce Adolphe has given over most of the ...
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  2. How Music Fills Our Emotions and Helps Us Keep Time.Patricia V. Agostino, Guy Peryer & Warren H. Meck - 2008 - Behavioral and Brain Sciences 31 (5):575-576.
    Whether and how music is involved in evoking emotions is a matter of considerable debate. In the target article, Juslin & Vll (J&V) argue that music induces a wide range of both basic and complex emotions that are shared with other stimuli. If such a link exists, it would provide a common basis for considering the interactions among music, emotion, timing, and time perception.
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  3. Susanne Langer on Representation and Emotion in Music.Lars-Olof Åhlberg - 1994 - British Journal of Aesthetics 34 (1):69-80.
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  4. Musical Perceptions.Rita Aiello & John A. Sloboda (eds.) - 1994 - Oxford University Press.
    Musical Perceptions is a much-needed text that introduces students of both music and psychology to the study of music perception and cognition. Because the book aims to foster a closer interaction between research in the science and the art of music, both psychologists and musicians contribute chapters on a wide range of topics, including the philosophy of music; research in musical performance; perception of melody, tonality, and rhythm; pedagogical issues; language and music; and neural networks. With their unique ability to (...)
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  5. The Sense of Space in Tonal and Atonal Music.Gerhard Albersheim - 1960 - Journal of Aesthetics and Art Criticism 19 (1):17-30.
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  6. The Arousal and Expression of Emotion by Music.R. T. Allen - 1990 - British Journal of Aesthetics 30 (1):57-61.
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  7. Reason, Emotion, and Music: Towards a Common Structure for Arts, Sciences, and Philosophies, Based on a Conceptual Framework for the Description of Music.Leo Apostel, Herman Sabbe & Fernand J. Vandamme (eds.) - 1986 - Communication & Cognition.
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  8. Varieties of Affect.Claire Armon-Jones - 1991 - University of Toronto Press.
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  9. The Music Instinct: How Music Works and Why We Can't Do Without It.Philip Ball - 2010 - Oxford University Press.
    Now in The Music Instinct , award-winning writer Philip Ball provides the first comprehensive, accessible survey of what is known--and still unknown--about how ...
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  10. Music and Emotion.Albert Balz - 1914 - Journal of Philosophy, Psychology and Scientific Methods 11 (9):236-244.
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  11. Why Music Moves Us - Jeanette Bicknell. [REVIEW]Christopher Bartel - 2010 - Journal of Aesthetics and Art Criticism 68 (3):317-319.
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  12. Musikalischer Sinn: Beiträge Zu Einer Philosophie der Musik.Alexander Becker & Matthias Vogel (eds.) - 2007 - Suhrkamp.
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  13. Stance: Ideas About Emotion, Style, and Meaning for the Study of Expressive Culture.Harris M. Berger - 2009 - Wesleyan University Press.
    Locating stance -- Structures of stance in lived experience -- Stance and others, stance and lives -- The social life of stance and the politics of expressive culture.
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  14. Music and the Aesthetics of Modernity: Essays.Karol Berger, Anthony Newcomb & Reinhold Brinkmann (eds.) - 2005 - Harvard University Press.
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  15. The Musical Image: A Theory of Content.Laurence D. Berman - 1993 - Greenwood Press.
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  16. Explaining Strong Emotional Responses to Music:.Jeanette Bicknell - 2007 - Journal of Consciousness Studies 14 (12):5-23.
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  17. Explaining Musical Experience.Paul Boghossian - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.
    1. I start with the observation that we often respond to a musical performance with emotion -- even if it is just the performance of a piece of absolute music, unaccompanied by text, title or programme. We can be exhilarated after a Rossini overture brought off with subtlety and panache; somber and melancholy after Furtlanger’s performance of the slow movement of the Eroica. And so forth. These emotions feel like the real thing to me – or anyway very close to (...)
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  18. Aesthetic Realism and Emotional Qualities of Music.Malcolm Budd - 2005 - British Journal of Aesthetics 45 (2):111-122.
    Roger Scruton appears to have been the first to argue for and articulate an anti-realist theory of aesthetic properties. In the case of emotional qualities of music, his principal argument against realism is unsound and cannot, I believe, be repaired. Nevertheless an anti-realist view of emotional qualities of music is in my view correct and I defend Scruton's insight against a rival realist conception. However, I prefer a rather different form of anti-realism to Scruton's.
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  19. Music and the Communication of Emotion.Malcolm Budd - 1989 - Journal of Aesthetics and Art Criticism 47 (2):129-138.
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  20. Motion and Emotion in Music: A Reply.Malcolm Budd - 1987 - British Journal of Aesthetics 27 (1):51-54.
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  21. Music and the Emotions: The Philosophical Theories.Malcolm Budd - 1985 - Routledge & Kegan Paul.
    The most fundamental debate in the philosophy of music involves the question of whether there is an artistically important connection between music and the ...
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  22. Motion and Emotion in Music: How Music Sounds.Malcolm Budd - 1983 - British Journal of Aesthetics 23 (3):209-221.
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  23. The Repudiation of Emotion: Hanslick on Music.Malcolm Budd - 1980 - British Journal of Aesthetics 20 (1):29-43.
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  24. Music, Meaning, and Emotion.David Carr - 2004 - Journal of Aesthetics and Art Criticism 62 (3):225–234.
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  25. Narrative, Emotion, and Insight.Noël Carroll & John Gibson (eds.) - 2011 - Pennsylvania State University Press.
    While narrative has been one of the liveliest and most productive areas of research in literary theory, discussions of the nature of emotional responses to art and of the cognitive value of art tend to concentrate almost exclusively on the problem of fiction: How can we emote over or learn from fictions? _Narrative, Emotion, and Insight _explores what would happen if aestheticians framed the matter differently, having narratives—rather than fictional characters and events—as the object of emotional and cognitive attention. The (...)
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  26. Joint Attention to Music.Tom Cochrane - 2009 - British Journal of Aesthetics 49 (1):59-73.
    This paper contrasts individual and collective listening to music, with particular regard to the expressive qualities of music. In the first half of the paper a general model of joint attention is introduced. According to this model, perceiving together modifies the intrinsic structure of the perceptual task, and encourages a convergence of responses to a greater or lesser degree. The model is then applied to music, looking first at the silent listening situation typical to the classical concert hall, and second (...)
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  27. The Music Between Us: Is Music a Universal Language? By Kathleen Marie Higgins. [REVIEW]Tom Cochrane - 2015 - Mind 124 (496):1288-1292.
  28. Music, Emotions and the Influence of the Cognitive Sciences.Tom Cochrane - 2010 - Philosophy Compass 5 (11):978-988.
    This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases allow us (...)
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  29. Using the Persona to Express Complex Emotions in Music.Tom Cochrane - 2010 - Music Analysis 29 (1-3):264-275.
    This article defends a persona theory of musical expressivity. After briefly summarising the major arguments for this view, it applies persona theory to the issue of whether music can express complex emotions. The expression of jealousy is then discussed by analysis of two examples from Piazzolla and Janacek.
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  30. A Simulation Theory of Musical Expressivity.Tom Cochrane - 2010 - Australasian Journal of Philosophy 88 (2):191-207.
    This paper examines the causal basis of our ability to attribute emotions to music, developing and synthesizing the existing arousal, resemblance and persona theories of musical expressivity to do so. The principal claim is that music hijacks the simulation mechanism of the brain, a mechanism which has evolved to detect one's own and other people's emotions.
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  31. Expression and Extended Cognition.Tom Cochrane - 2008 - Journal of Aesthetics and Art Criticism 66 (4):59-73.
    I argue for the possibility of an extremely intimate connection between the emotional content of the music and the emotional state of the person who produces that music. Under certain specified conditions, the music may not just influence, but also partially constitute the musician’s emotional state.
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  32. The Emotional Power of Music: Multidisciplinary Perspectives on Musical Arousal, Expression, and Social Control.Tom Cochrane, Bernardino Fantini & Klaus R. Scherer (eds.) - 2013 - Oxford University Press.
    How can an abstract sequence of sounds so intensely express emotional states? In the past ten years, research into the topic of music and emotion has flourished. This book explores the relationship between music and emotion, bringing together contributions from psychologists, neuroscientists, musicologists, musicians, and philosophers .
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  33. Music, Education, and the Emotions.David E. Cooper - 2009 - Journal of Chinese Philosophy 36 (4):642-652.
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  34. Aesthetic Concepts, Perceptual Learning, and Linguistic Enculturation: Considerations From Wittgenstein, Language, and Music.Adam M. Croom - 2012 - Integrative Psychological and Behavioral Science 46:90-117.
    Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively grasp abstract rules fixed independently of human (...)
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  35. Philosophy, Music and Emotion.S. Davies - 2003 - Australasian Journal of Philosophy 81 (2):281-283.
    Book Information Philosophy, Music and Emotion. By Geoffrey Madell. Edinburgh University Press. Edinburgh. 2002. Pp. vii + 162. £40.
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  36. The Expression of Emotion in Music.S. Davies - 1980 - Mind 89 (353):67-86.
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  37. Emotions Expressed and Aroused by Music: Philosophical Perspectives.Stephen Davies - 2011 - In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press.
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  38. Infectious Music: Music-Listener Emotional Contagion.Stephen Davies - 2011 - In Amy Coplan & Peter Goldie (eds.), Empathy: Philosophical and Psychological Perspectives. Oxford University Press.
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  39. Artistic Expression and the Hard Case of Pure Music.Stephen Davies - 2006 - In Matthew Kieran (ed.), Contemporary debates in aesthetics and the philosophy of art. Blackwell.
    In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without words, (...)
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  40. Is Music a Language of the Emotions?Stephen Davies - 1983 - British Journal of Aesthetics 23 (3):222-233.
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  41. The Musical Representation: Meaning, Ontology, and Emotion, by Charles O. Nussbaum.M. de Bellis - 2010 - Mind 119 (473):225-228.
    (No abstract is available for this citation).
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  42. The Future of Tonality.A. E. Denham - 2009 - British Journal of Aesthetics 49 (4):427-450.
    Is the tonal ordering of music, and the order of European triadic tonality in particular, the developed manifestation of an essential musical structure—a structure naturally suited to our human capacity to organize sounds musically? Historically and geographically, triadic tonality is a highly local phenomenon, limited to music beginning in the mid-seventeenth century and, until the nineteenth century, almost wholly confined to the Western European musical tradition. Some theorists accordingly regard tonality as a dispensable aesthetic convention—and one which, moreover, has had (...)
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  43. Ästhetik des Fado.Andreas Dorschel - 2015 - Merkur 69 (2):79-86.
    Fado, the urban folk of Lisbon and Coimbra, is an art of nuances. These nuances music takes from poetry; as ‘sung poetry’ (‘poema cantado’ in Portuguese) fados are not to be equated with ‘songs’ that turn the word into a vehicle – a dominant procedure in, e.g., rock music. Again, ‘voice’ in fado does not so much manifest individual expression; rather it is, as it were, ‘on loan’ from tradition. Keeping some distance from dance, too, fado at the beginning of (...)
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  44. Einführung zu den Schriften [Richard Wagners].Andreas Dorschel - 2012 - In Laurenz Lütteken (ed.), Wagner Handbuch. Bärenreiter. pp. 110-117.
    In his writings, Richard Wagner imagines art as something natural. This paradox was only befitting for Wagner’s contradictory historical stance: that of an eminently modern artist loathing the modern world. For him, nature served as a yardstick apt to find the modern world deficient on all counts. But how can something ahistorical, nature, be used to judge a historical phenomenon, modernity? To arrive at the verdict Wagner was keen on, he had to fill his concept of nature with historical content (...)
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  45. Utopie und Resignation. Schuberts Deutungen des Sehnsuchtsliedes aus Goethes ‘Wilhelm Meister’ von 1826.Andreas Dorschel - 1997 - Oxford German Studies 26:132-164.
    In the lied, music interprets poetry. Interpretation is not arbitrary. At the same time, there is no such thing as a single correct interpretation of something else – at any rate not of something as complex as a poem by Goethe. Mignon’s song of longing “Nur wer die Sehnsucht kennt, / weiß, was ich leide” can be taken to manifest subjectivity utterly barren within itself. Yet the ability to express that state of mind transcends it; it implies imagination of something (...)
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  46. Stilisierte Simplizität. Heines ‘Ich stand in dunkeln Träumen’ in Schuberts Komposition.Andreas Dorschel - 1991 - Heine-Jahrbuch 30:164-186.
    Simplicity can be a complicated matter. This has been notorious in the philosophy of science for some time; but it seems the aesthetics of music yet have to come up to that insight. Song, apparently the plainest of musical genres, turns out to be a rather intricate sort of thing once we try to unravel its puzzle of expression as confluence of words and music. Specifically, Franz Schubert’s Ihr Bild, after Heinrich Heine, achieves simplicity through condensation. The idea of gestural (...)
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  47. The Moving Mirrors of Music.A. E. Denham - 1999 - Music & Letters 80:411-432.
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  48. Eroica’nın İkinci Bölümü Gerçekten Hüzünlü mü?Itır Erhart - 2007 - Felsefe Tartismalari 39:17-28.
    When describing pieces of music we use emotion terms like sad, happy, jolly, soft, tense, romantic, gloomy or melancholic. The general agreement as to which piece of music expresses which emotion can be explained by expressive properties in the music. In this paper it will be argued that the expressive properties in pieces of music are dispositions akin to secondary properties like colour, taste and smell, that they are capacities of music to arouse a particular emotion in us.
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  49. Why Music Moves Us. By Jeanette Bicknell.William A. Everett - 2012 - The European Legacy 17 (3):407 - 408.
    The European Legacy, Volume 17, Issue 3, Page 407-408, June 2012.
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  50. Jenefer Robinson, Deeper Than Reason: Emotion and its Role in Literature, Music, and Art. [REVIEW]Curtis Fogel - 2008 - Minds and Machines 18 (2):289-292.
1 — 50 / 113