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  1. Frederick Ahl, Bonnie Maclachlan & Robert W. Wallace (1991). Harmonia Mundi Musica E Filosofia Nell'antichità = Music and Philosophy in the Ancient World. Edizioni Dell'ateneo.
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  2. Shawn Raja Akbar, Musical Understanding: Studies in Philosophy and Phenomenological Psychology.
    The central undertaking of this project is to initiate a phenomenological theory of musical experience. The core views expressed are that musical rhythm is the most fundamental, and the only essential, component of the musical experience, and that the essence of musical experience lies in attending to rhythm as communicative of a sense of time. In the introduction I set out the general phenomenon of musical understanding and argue for the relevance of phenomenological description of basic musical experience for the (...)
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  3. Gerhard Albersheim (1964). Mind and Matter in Music. Journal of Aesthetics and Art Criticism 22 (3):289-294.
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  4. Eva Alerby & Cecilia Ferm (2005). Learning Music: Embodied Experience in the Life-World. Philosophy of Music Education Review 13 (2):177-185.
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  5. Randall Everett Allsup (2005). In Dialogue: A Response to Estelle R. Jorgensen,?Four Philosophical Models of the Relationship Between Theory and Practice? Philosophy of Music Education Review 13 (1):104-108.
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  6. Meter Amevans (1967). What is Music? Journal of Aesthetics and Art Criticism 26 (2):241-249.
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  7. Hanne Appelqvist (2011). Form and Freedom: The Kantian Ethos of Musical Formalism. Nordic Journal of Aesthetics 40 (40-41):75-88.
    Musical formalism is often portrayed as the enemy of artistic freedom. Its main representative, Eduard Hanslick, is seen as a purist who, by emphasizing musical rules, aims at restricting music criticism and even musical practices themselves. It may also seem that formalism is depriving music of its ability to have moral significance, as the semantic connection to the extramusical is denied by the formalistic view. In my paper, I defend formalism by placing Hanslick’s argument in a Kantian framework. It is (...)
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  8. Charles Avison (1775). An Essay on Musical Expression. Printed for L. Davis.
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  9. Charles Avison, Pierre Dubois & William Hayes (2004). Charles Avison's Essay on Musical Expression with Related Writings by William Hayes and Charles Avison.
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  10. Charles Avison & John Jortin (1967). An Essay on Musical Expression a Facsimile of the 1753 London Edition. Broude Bros.
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  11. Barbara Ayres (1973). Effects of Infant Carrying Practices on Rhythm in Music. Ethos: Journal of the Society for Psychological Anthropology 1 (4):387-404.
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  12. Barbara Ayres (1973). Effects of Infant Carrying Practices on Rhythm in Music. Ethos 1 (4):387-404.
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  13. S. A. Barnett (1899). The Mission of Music. International Journal of Ethics 9 (4):494-504.
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  14. Imants Baruss & M. Wammes (2009). Characteristics of Spontaneous Musical Imagery. Journal of Consciousness Studies 16 (1):37-61.
    This study follows upon Steven Brown's 2006 article in The Journal of Consciousness Studies about the ‘perpetual music track', a form of constant musical imagery. With Brown's assistance, a Musical Imagery Questionnaire was developed. The questionnaire was then administered to 67 participants with the intention of establishing relevant scales for quantifying the presence and extent of spontaneous musical imagery in individuals. In addition to the Musical Imagery Questionnaire, the Six Factor Personality Questionnaire, as well as the Transliminality Scale, which is (...)
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  15. Bruce Baugh (1995). Music for the Young at Heart. Journal of Aesthetics and Art Criticism 53 (1):81-83.
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  16. Gustav Becking (2011). How Musical Rhythm Reveals Human Attitudes. Lang.
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  17. Ann Elizabeth Behrend (1989). Expression and Emotion in Music. U.M.I.
    How are human moods and emotions attributed to musical works of art? Since artworks are not sentient, critical descriptions and interpretations of them as expressing emotions cannot be literal. Theories of musical works' expressive features and the status of emotive criticism divide into two basic types: Expressionist and Formalist. Expressionists link expressive qualities to the artist's intentions or emotions in creating the work or to the appreciator's feelings in experiencing it. These features reveal the work's meaning, and emotive criticism contributes (...)
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  18. Frances Berenson (1994). Representation and Music. British Journal of Aesthetics 34 (1):60-68.
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  19. Jeanette Bicknell (2001). Music, Listeners, and Moral Awareness. Philosophy Today 45 (3):266-274.
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  20. Alexander Binns (2004). Hanslick on the Musically Beautiful: Sixteen Lectures on the Musical Aesthetics of Eduard Hanslick. British Journal of Aesthetics 44 (2):204-205.
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  21. Eric Blom (1928). The Limitations of Music a Study in Æthetics. Macmillan & Co..
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  22. Mark Evan Bonds (1991). Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Harvard University Press.
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  23. E. Borthwick (1996). Greek Music and Musicians. [REVIEW] The Classical Review 46 (2):259-261.
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  24. Guy Bouchard (1994). Music and the Emotions. Review of Metaphysics 47 (4):802-803.
    L'ouvrage de Malcolm Budd ainsi intitulé porte sur les relations entre la musique et les émotions en lien avec la valeur attribuée à la musique. Il passe en revue d'une part les théories qui nient la pertinence des émotions pour l'appréciation de la musique, d'autre part celles qui l'endossent. Toutes, à son avis, sont déficientes, et il plaide pour une théorie de la musique qui serait moins monolithique que celles-là.
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  25. Warren Bourne & Australian Society for Music Education (1993). Ethics on the Edge of the Musical Experience. Circme, School of Music, University of Western Australia.
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  26. Susan Boynton (1997). Mourning Into Joy: Music, Raphael, and Saint Cecilia. [REVIEW] Speculum 72 (3):809-10.2307/3040783.
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  27. Halbert H. Britan (1904). Music and Morality. International Journal of Ethics 15 (1):48-63.
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  28. Halbert Hains Britan (1908). The Power of Music. Journal of Philosophy, Psychology and Scientific Methods 5 (13):352-357.
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  29. M. Brody (1985). Reply to Serafine and to Marantz on Serafine. Cognition 19 (1):93-98.
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  30. Steven Brown (2006). The Perpetual Music Track: The Phenomenon of Constant Musical Imagery. Journal of Consciousness Studies 13 (6):43-62.
    The perpetual music track is a new concept that describes a condition of constant or near-constant musical imagery. This condition appears to be very rare even among composers and musicians. I present here a detailed self-analysis of musical imagery for the purpose of defining the psychological features of a perpetual music track. I have music running through my head almost constantly during waking hours, consisting of a combination of recently- heard pieces and distant pieces that spontaneously pop into the head. (...)
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  31. Siglind Bruhn (2002). Voicing the Ineffable Musical Representations of Religious Experience.
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  32. Malcolm Budd (2012). The Musical Expression of Emotion: Metaphorical-As Versus Imaginative-As Perception. Estetika 49 (2):131-147.
    The paper begins with an overview of various well-known accounts of the musical expression of emotion that have been proposed in recent years. But rather than proceeding to assess the merits and faults of these accounts the paper examines whether a radically new theory by Christopher Peacocke is superior to all of them. The theory, which certainly has a number of attractive features, is based on the idea of metaphorical-as perception. The notion of metaphorical-as perception needs to be elucidated and (...)
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  33. Malcolm Budd (1987). Music and the Emotions. Philosophical Review 96 (4):594-596.
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  34. Bojan Bujic (1975). Aeshetics of Music—Some of its Aims and Limitations. British Journal of Aesthetics 15 (4):329-335.
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  35. David L. Burrows (2007). Time and the Warm Body: A Musical Perspective on the Construction of Time. Brill.
    The embodied now -- From now to time -- Music and the warm body.
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  36. Joel Cahen (2008). Tech Art: The Effects of Code and Network Systems on Music and Art. Technoetic Arts 6 (2):185-198.
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  37. Donald Callen (1983). Transfiguring the Emotions in Music. Grazer Philosophische Studien 19:69-91.
    Music often pictures emotion through representing its expression and is thereby able to bear insight into significant aspects of emotional life. Scruton's arguments for denying that music is significantly representational is shown to fail, musical pictures having their own sort of determinacy. Musical representation is dramatic. Musical sounds play the role of expression. They themselves are portrayed as expressing the emotions which we thus represented. But musical drama is distinct from literary drama.
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  38. L. Camilleri (1986). Music, Mind and Programs. Diogenes 34 (133):47-59.
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  39. Robert B. Cantrick (1995). If the Semantics of Music Theorizing is Broke, Let's Fix It. British Journal of Aesthetics 35 (3):239-253.
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  40. Paul Carus (1895). The Significance of Music. The Monist 5 (3):401-407.
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  41. David Casacuberta (2004). DJ El Niño: Expressing Synthetic Emotions with Music. [REVIEW] AI and Society 18 (3):257-263.
    The purpose of this work is twofold: (1) to present an artistic experiment on how to use artificial intelligence to develop a “different kind” of DJ, and (2) to test a cognitive model on how music expresses emotions. Based on a former model conceived by the author, electronic music loops were tagged according to the type and intensity of the expressed emotion. Then, using a feedback model, an artificial personality was arranged, which was affected by the music and played the (...)
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  42. Cattell James Mckeen (1891). On the Origin of Music. Mind 16 (63):375 - 388.
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  43. D. Clarke & E. Clarke (2014). Music and Consciousness: A Continuing Project. Arts and Humanities in Higher Education 13 (1-2):77-87.
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  44. David Clarke (2011). Music, Phenomenology, Time Consciousness: Meditations After Husserl. In David Clarke & Eric F. Clarke (eds.), Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. Oxford University Press. pp. 1-28.
    David Clarke examines the complex relationship between phenomenological and semiological understandings of music and consciousness through the window of time. He also explores the polar tension between Husserl's phenomenology and Derrida's critique of it, considering what the experience of music might have to offer in response to the crucial question of what is most primordial or essential to consciousness: the unceasing, differential movement of meaning, or some pure flow of subjectivity that underpins all our experience.
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  45. Eric Clarke (2011). Music Perception and Musical Consciousness. In David Clarke & Eric F. Clarke (eds.), Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. Oxford University Press. pp. 193.
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  46. Dalia Cohen (1995). Directionality and Complexity in Music. In M. G. Boroda (ed.), Units, Text and Language: An Interdisciplinary Approach. Universitätsverlag Dr. N. Brockmeyer.
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  47. Susan C. Cook & Judy S. Tsou (1994). Cecilia Reclaimed Feminist Perspectives on Gender and Music.
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  48. David E. Cooper (2007). Finding the Music Again. The Philosophers' Magazine 38 (38):45-46.
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  49. Ian Cross (2009). Music and Cognitive Evolution. In Robin Dunbar & Louise Barrett (eds.), Oxford Handbook of Evolutionary Psychology. Oxford University Press.
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  50. James Currie (2008). Review of Andrew Bowie, Music, Philosophy, and Modernity. [REVIEW] Notre Dame Philosophical Reviews 2008 (6).
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