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128 found
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1 — 50 / 128
  1. added 2020-06-16
    The Moving Mirrors of Music.A. E. Denham - 1999 - Music & Letters 80:411-432.
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  2. added 2020-02-11
    Philosophy, Music and Emotion.Constantijn Koopman - 2003 - Mind 112 (448):759-762.
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  3. added 2019-10-20
    Group Flow.Tom Cochrane - 2017 - In Micheline Lesaffre, Pieter-Jan Maes & Marc Leman (eds.), The Routledge Companion of Embodied Music Interaction. London, UK: Routledge. pp. 133-140.
    In this chapter I analyse group flow: a state in which performers report intense interpersonal absorption with the music and each other. I compare group flow to individual flow, and argue that the same essential structure can be discerned. I argue that group flow does not justify an anti-representationalist enactivist interpretation. However, I claim that the cognitive task in which the music is produced is irreducibly collective.
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  4. added 2019-10-20
    On the Resistance of the Instrument.Tom Cochrane - 2013 - In Tom Cochrane, Klaus Scherer & Bernardino Fantini (eds.), The Emotional Power of Music: Multidisciplinary perspectives on musical arousal, expression, and social control. Oxford: pp. 75-83.
    I examine the role that the musical instrument plays in shaping a performer's expressive activity and emotional state. I argue that the historical development of the musical instrument has fluctuated between two key values: that of sharing with other musicians, and that of creatively exploring new possibilities. I introduce 'the mood organ'- a sensor-based computer instrument that automatically turns signals of the wearer's emotional state into expressive music.
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  5. added 2019-08-22
    Musical Meaning in Between: Ineffability, Atmosphere and Asubjectivity in Musical Experience.Tere Vadén & Juha Torvinen - 2014 - Journal of Aesthetics and Phenomenology 1 (2):209-230.
    ABSTRACTIneffability of musical meaning is a frequent theme in music philosophy. However, talk about musical meaning persists and seems to be not only inherently enjoyable and socially acceptable, but also functionally useful. Relying on a phenomenological account of musical meaning combined with a naturalist explanatory attitude, we argue for a novel explanation of how ineffability is a feature of musical meaning and experience and we show why it cannot be remedied by perfecting language or musico-philosophical study.Musical meaning is seen as (...)
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  6. added 2019-06-24
    Musical Feelings And Atonal Music.Elina Packalén - 2005 - Postgraduate Journal of Aesthetics 2 (2):97-104.
    Several recent studies in many different fields have focused on the question of how music can be expressive of such emotions that only sentient beings can feel. In philosophy of music the adherents of cognitivist theories of expressivity (e.g. Davies 2003, Kivy 2002) try to solve this problem by explaining that we hear music as expressive of emotions, because we hear the events and contours of music as resembling the typical ways in which human beings express their emotions in behaviour (...)
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  7. added 2019-06-24
    What Do We Understand In Musical Experience?Guy Dammann - 2005 - Postgraduate Journal of Aesthetics 2 (2):70-75.
    Of the many difficult questions that populate the rather treacherous terrain of the philosophy of music, the one that perplexes and interests me the most often crops up in various guises in the myriad books of‘ Quotations for music lovers’ and such like. The following version may be said to capture its fundamental idea. Given that music doesn’t seem in any obvious sense to be about anything precisely, why do we seem to think that it conveys so much so strongly?
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  8. added 2019-06-06
    Music and the Emotions: The Philosophical Theories.Malcolm Budd - 1985 - Routledge.
    It has often been claimed, and frequently denied, that music derives some or all of its artistic value from the relation in which it stands to the emotions. This book presents and subjects to critical examination the chief theories about the relationship between the art of music and the emotions.
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  9. added 2019-06-05
    The Ethics of Singing Along: The Case of “Mind of a Lunatic”.Aaron Smuts - 2013 - Journal of Aesthetics and Art Criticism 71 (1):121-129.
    In contrast to film, theater, and literature, audiences typically sing along with popular songs. This can encourage a first-person mode of engagement with the narrative content. Unlike mere spectators, listeners sometimes imagine acting out the content when it is recited in the first-person. This is a common mode of engaging with popular music. And it can be uniquely morally problematic. It is problematic when it involves the enjoyment of imaginatively doing evil. I defend a Moorean view on the issue: It (...)
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  10. added 2019-05-24
    An Aesthetic of Horror Film Music.Ka Chung Lorraine Yeung - 2019 - Film and Philosophy 23:159-178.
    In this paper I develop an aesthetic of horror film music based on the film sound theorist Kevin Donnelly's "direct access thesis". This states that horror film scores have the power to provide "direct accesses" to the bodies of an audience; they "produce bodily sensations, excite (mainly negative) emotions and insert in the audience "frames of mind and attitudes...much like a direct injection". I first argue that two dominant theories in the field, namely, the culturalist theory of film music and (...)
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  11. added 2019-03-25
    Music Feels Like Moods Feel.Kris Goffin - 2014 - Frontiers in Psychology 5:327.
    While it is widely accepted that music evokes moods, there is disagreement over whether music-induced moods are relevant to the aesthetic appreciation of music as such. The arguments against the aesthetic relevance of music-induced moods are: moods cannot be intentionally directed at the music and music-induced moods are highly subjective experiences and are therefore a kind of mind-wandering. This paper presents a novel account of musical moods that avoids these objections. It is correct to say that a listener’s entire mood (...)
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  12. added 2018-08-18
    Muzička Ekspresivnost.Sanja Sreckovic - 2015 - Theoria: Beograd 58 (3):19-39.
    The paper deals with the relationship between the art of music and human emotions, in particular, with the feature of musical works designated in aesthetic literature as „expressiveness“. After a short presentation of several main attempts at explaining the expressiveness of music in analytical aesthetics, the author offers a clarification of the conceptual confusion within presented theories, and points out their main difficulties and deficiencies.
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  13. added 2018-08-18
    Eduard Hanslick's Formalism and His Most Influential Contemporary Critics.Sanja Sreckovic - 2014 - Belgrade Philosophical Annual 27:113-134.
    The paper deals with the formalistic view on music presented in Eduard Hanslick’s treatise On the Musically Beautiful, which is taken to be the foundingwork of the aesthtetics of music. In the paper I propose an interpretation of Hanslick’s treatise which differs on many points from the interpretations displayed in the works of several most influential contemporary aestheticians of music. My main thesis is that Hanslick’s treatise is misunderstood and incorrectly presented by these authors. I try to demonstrate this thesis (...)
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  14. added 2018-06-20
    Appearance Emotionalism in Music: Analysis and Criticism.Matteo Ravasio - 2019 - Journal of Aesthetic Education 53 (3):93.
    This paper is composed of two related parts. The first raises questions regarding the characterisation of the phenomenology of music listening required by Davies’s theory of musical expressiveness, appearance emotionalism. I will identify two possible readings of the theory, a thick and a thin one, and claim that the former represents the basic characterisation of what it is to hear expressive music according to appearance emotionalism. The thick characterisation is to be preferred, I will claim, both on the grounds of (...)
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  15. added 2018-06-20
    Emotions in the Listener: A Criterion of Artistic Relevance.Matteo Ravasio - 2017 - American Society for Aesthetics Graduate E-Journal 9 (1).
    Philosophers of music and psychologists have examined the various ways in which music is capable of arousing emotions in a listener. Among philosophers, opinions diverge as to the different types of music-induced emotions and as to their relevance to music listening. A somewhat neglected question concerns the possibility of developing a general criterion for the artistic relevance of music-induced emotions. In this paper, I will try to formulate such a criterion. In whatever way music may induce emotions and regardless of (...)
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  16. added 2018-06-20
    Stephen Davies on the Issue of Literalism.Matteo Ravasio - 2017 - Debates in Aesthetics 13 (1).
    In this paper I discuss Stephen Davies’s defence of literalism about emotional descriptions of music. According to literalism, a piece of music literally possesses the expressive properties we attribute to it when we describe it as ‘sad’, ‘happy’, etc. Davies’s literalist strategy exploits the concept of polysemy: the meaning of emotion words in descriptions of expressive music is related to the meaning of those words when used in their primary psychological sense. The relation between the two meanings is identified by (...)
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  17. added 2018-02-04
    Musical Worlds and the Extended Mind.Joel Krueger - 2018 - Proceedings of A Body of Knowledge - Embodied Cognition and the Arts Conference CTSA UCI, 8-10 Dec 2016.
    “4E” approaches in cognitive science see mind as embodied, embedded, enacted, and extended. They observe that we routinely “offload” part of our thinking onto body and world. Recently, 4E theorists have turned to music cognition: from work on music perception and musical emotions, to improvisation and music education. I continue this trend. I argue that music — like other tools and technologies — is a beyond-the-head resource that affords offloading. And via this offloading, music can (at least potentially) scaffold various (...)
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  18. added 2018-01-20
    Musical Scaffolding and the Pleasure of Sad Music: Comment on “An Integrative Review of the Enjoyment of Sadness Associated with Music".Joel Krueger - forthcoming - Physics of Life Reviews.
    Why is listening to sad music pleasurable? Eerola et al. convincingly argue that we should adopt an integrative framework — encompassing biological, psycho-social, and cultural levels of explanation — to answer this question. I agree. The authors have done a great service in providing the outline of such an integrative account. But in their otherwise rich discussion of the psycho-social level of engagements with sad music, they say little about the phenomenology of such experiences — including features that may help (...)
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  19. added 2017-12-12
    Music as Affective Scaffolding.Joel Krueger - forthcoming - In David Clarke, Ruth Herbert & Eric Clarke (eds.), Music and Consciousness II. Oxford: Oxford University Press.
    For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. I argue that music is a beyond-the-head resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. I focus on music’s capacity to scaffold emotional consciousness, including the self-regulative processes constitutive of emotional (...)
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  20. added 2017-06-13
    The Who and Philosophy.Rocco J. Gennaro & Casey Harison (eds.) - 2016 - Lexington Books.
    The Who was one of the most influential of the 1960s British Invasion bands—not just because of their loud and occasionally destructive stage presence—but also because of its smart songs and albums such as “My Generation,” Who’s Next, Tommy, and Quadrophenia, in which they explored themes such as frustration, angst, irony, and a youthful inclination to lash out. This collection explores the remarkable depth and breadth of the Who’s music through a philosophical lens.
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  21. added 2017-02-15
    Music, Musicians and Brain Plasticity.Gottfried Schlaug - 2008 - In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oxford University Press.
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  22. added 2017-02-13
    Music to My Eyes: Cross-Modal Interactions in the Perception of Emotions in Musical Performance.Bradley W. Vines, Carol L. Krumhansl, Marcelo M. Wanderley, Ioana M. Dalca & Daniel J. Levitin - 2011 - Cognition 118 (2):157-170.
  23. added 2017-02-09
    On the Divide: Analytic and Continental Philosophy of Music.Tiger Roholt - 2017 - Journal of Aesthetics and Art Criticism 75 (1):49-58.
    On offer here is a tradition-neutral way of understanding the distinction between analytic and continental philosophy of music. The distinction is drawn in terms of methodology, rather than content, by identifying contrasting methodological tendencies of each tradition—initial maneuvers that frame an investigation, which are related to one another insofar as they involve, or do not involve, two kinds of methodological detachment. These maneuvers are extracted through a consideration of contrasting pairs of examples. The pairs consist of an analytic and a (...)
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  24. added 2017-02-08
    A Set of Postulates for the Logical Structure of Music.Suzanne K. Langer - 1929 - The Monist 39 (4):561-570.
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  25. added 2017-02-01
    The Cognitive Value of Music.James O. Young - 1999 - Journal of Aesthetics and Art Criticism 57 (1):41-54.
  26. added 2017-01-27
    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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  27. added 2017-01-26
    Jeanette Bicknell, Why Music Moves Us Reviewed By.James O. Young - 2009 - Philosophy in Review 29 (5):316-317.
    Review of Why Music Moves Us by Jeanette Bicknell.
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  28. added 2016-12-12
    Why We Experience Musical Emotions: Intrinsic Musicality in an Evolutionary Perspective.Daniela Lenti Boero & Luciana Bottoni - 2008 - Behavioral and Brain Sciences 31 (5):585-586.
    Taking into account an evolutionary viewpoint, we hypothesize that music could hide a universal and adaptive code determining preferences. We consider the possible selective pressure that might have shaped, at least in part, our emotional appreciation of sound and music, and sketch a comparison between parameters of some naturalistic sounds and music.
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  29. added 2016-12-05
    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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  30. added 2016-12-05
    Contemporary Debates in Aesthetics and the Philosophy of Art.Mathew Kieran (ed.) - 2005 - Wiley-Blackwell.
    _Contemporary Debates in Aesthetics and the Philosophy of Art_ features pairs of newly commissioned essays by some of the leading theorists working in the field today. Brings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art. Each question is treated by a pair of opposing essays written by eminent scholars, and especially commissioned (...)
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  31. added 2016-11-07
    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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  32. added 2016-08-14
    Wittgenstein Reimagines Musical Depth.Eran Guter - 2016 - In Stefan Majetschak Anja Weiberg (ed.), Aesthetics Today: Contemporary Approaches to the Aesthetics of Nature and of Art, Contributions to the 39th International Wittgenstein Symposium (Kirchberg am Wechsel: ALWS, 2016). pp. 87-89.
    I explore and outline Wittgenstein's original response to the Romantic discourse concerning musical depth, from his middle-period on. Schopenhauer and Spengler served as immediate sources for Wittgenstein's reliance on Romantic metaphors of depth concerning music. The onset for his philosophic intervention in the discourse was his critique of Schenker's view of music and his general shift toward the 'anthropological view', which occurred at the same time. In his post-PI period Wittgenstein was able to reimagine musical depth in terms of vertically (...)
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  33. added 2016-03-04
    The Music Between Us: Is Music a Universal Language? By Kathleen Marie Higgins. [REVIEW]Tom Cochrane - 2015 - Mind 124 (496):1288-1292.
  34. added 2016-02-28
    Musicing, Materiality, and the Emotional Niche.Joel Krueger - 2015 - Action, Criticism, and Theory for Music Education 14 (3):43-62.
    Building on Elliot and SilvermanÕs (2015) embodied and enactive approach to musicing, I argue for an extended approach: namely, the idea that music can function as an environmental scaffolding supporting the development of various experiences and embodied practices that would otherwise remain inaccessible. I focus especially on the materiality of music. I argue that one of the central ways we use music, as a material resource, is to manipulate social spaceÑand in so doing, manipulate our emotions. Acts of musicing, thought (...)
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  35. added 2016-02-28
    Empathy Beyond the Head: Comment on "Music, Empathy, and Cultural Understanding".Joel Krueger - 2015 - Physics of Life Reviews 15:92-93.
  36. added 2016-02-28
    Musical Manipulations and the Emotionally Extended Mind.Joel Krueger - 2014 - Empirical Musicology Review 9 (3-4):208-212.
    I respond to Kersten’s criticism in his article “Music and Cognitive Extension” of my approach to the musically extended emotional mind in Krueger (2014). I specify how we manipulate—and in so doing, integrate with—music when, as active listeners, we become part of a musically extended cognitive system. I also indicate how Kersten’s account might be enriched by paying closer attention to the way that music functions as an environmental artifact for emotion regulation.
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  37. added 2016-02-28
    Empathy, Enaction, and Shared Musical Experience.Joel Krueger - 2013 - In Tom Cochrane, Bernardino Fantini & Klaus Scherer (eds.), The Emotional Power of Music: Multidisciplinary Perspectives on Musical Expression, Arousal and Social Control. Oxford University Press. pp. 177-196.
  38. added 2016-02-28
    Affordances and the Musically Extended Mind.Joel Krueger - 2013 - Frontiers in Psychology 4:1-12.
    I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances – via soliciting different forms of entrainment – enhance the functionality of various endogenous, emotiongranting regulative processes, drawing novel experiences out of us with an expanded complexity and phenomenal (...)
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  39. added 2016-02-26
    Musicality in Human Evolution, Archaeology and Ethnography: Iain Morley: The Prehistory of Music: Human Evolution, Archaeology, and the Origins of Musicality. Oxford University Press, Oxford, 2013.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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  40. added 2015-12-10
    Style and the Processes of Art.Kendall Walton - 1979/2008 - In Wa & Kendall tpm (eds.), The Concept of Style. Oxford University Press. pp. 220--248.
  41. added 2015-11-30
    Music as Atmosphere. Lines of Becoming in Congregational Worship.Friedlind Riedel - 2015 - Lebenswelt. Aesthetics and Philosophy of Experience 6:80-111.
    In this paper I offer critical attention to the notion of atmosphere in relation to music. By exploring the concept through the case study of the Closed Brethren worship services, I argue that atmosphere may provide analytical tools to explore the ineffable in ecclesial practices. Music, just as atmosphere, commonly occupies a realm of ineffability and undermines notions such as inside and outside, subject and object. For this reason I present music as a means of knowing the atmosphere. The first (...)
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  42. added 2015-04-05
    Emotions and Understanding in Music.Vojtěch Kolman - 2014 - Idealistic Studies 44 (1):83-100.
    The aim of this paper is to sketch a theory of musical experience which takes the empirical research seriously without abandoning or neglecting music’s transcendental features. The tension between the recent empirical approach, as represented particularly by Huron’s ITPRA theory, and the transcendental fact that music as an instance of art is something one can understand and, moreover, can understand oneself through, should be overcome by elaborating on the concept of emotion and the role it can play in musical understanding. (...)
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  43. added 2015-04-05
    Interdeterminacy and Music Education Logical and Psychological Perspectives.Reeves Miller - 1994
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  44. added 2015-03-29
    La Perception de la Musique.Robert Francès - 1958 - Vrin.
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  45. added 2015-03-24
    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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  46. added 2015-03-23
    Critique of Pure Music.James O. Young - 2014 - Oxford University Press.
    James O. Young seeks to explain why we value music so highly. He draws on the latest psychological research to argue that music is expressive of emotion by resembling human expressive behaviour. The representation of emotion in music gives it the capacity to provide psychological insight--and it is this which explains a good deal of its value.
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  47. added 2015-03-23
    Jeanette Bicknell, Why Music Moves Us.James O. Young - 2009 - Philosophy in Review 29 (5):316.
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  48. added 2015-03-22
    Music as a Manifestation of Human Cognitive Capacities.Luminiţa Pogăceanu - 2009 - Linguistic and Philosophical Investigations 8:165-169.
  49. added 2015-03-19
    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. added 2015-02-07
    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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