This category needs an editor. We encourage you to help if you are qualified.
Volunteer, or read more about what this involves.
Related

Contents
69 found
Order:
1 — 50 / 69
  1. Immersive Sonic Elements from Greek and Roman Ritual through Contemporary Christian Worship: A Closer Walk with Thee.Jeff Hawley - manuscript
    As the lyrics to the traditional nineteenth century gospel hymn state, one of the goals of many magical and religious practices is to experience ‘a closer walk with Thee,’ coming into the presence of the holy in both figurative and arguably literal terms. One of the many ways to improve this likelihood of achieving the deep and immersive presence of the holy—described by the scholar of comparative religion Rudolf Otto as the “gentle tide, [the] pervading [of] the mind with a (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  2. Agreeability, Accessibility, and the Jukebox Musical.Kevin Howery - 2024 - Americas: A Hemispheric Music Journal 32 (Single):1-5.
    The Jukebox Musical is a money making powerhouse that has made its way into theatre spaces around the globe. In this article the author explores what qualities make jukebox musicals so appealing and explores the musical and philosophical categories that contribute to the success of this medium.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  3. Why, Delilah? When music and lyrics move us in different directions.Laura Sizer & Eva M. Dadlez - 2024 - Philosophical Studies 181 (8):1789-1811.
    Songs that combine happy music and sad, violent, or morally disturbing lyrics raise questions about the relationship between music and lyrics in song, including the question of how such songs affect the listener, and of the ethical implications of listening – and perhaps singing along with – such songs. To explore those perplexing cases in which the affective impact of music and lyrics seem entirely incompatible, we first examine how song music – and the sympathetic musical affects it elicits – (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  4. Wittgenstein in the Laboratory: Pre-Tractatus Seeds of Wittgenstein’s Post-Tractatus Aesthetics.Eran Guter - 2023 - International Wittgenstein Symposium 2023: 100 Years of Tractatus Logico-Philosophicus — 70 Years After Wittgenstein’s Death. A Critical Assessment.
    Wittgenstein’s experiments on rhythm (1912-13) were based on Charles Myers’s 1911 written protocols for laboratory exercises. The experiments provided an early onset for Wittgenstein’s career-long exploration of the philosophically pervasive implications of aspects. Years before the Tractatus, Wittgenstein already got a glimpse of a philosophical angle, which was bound to become very important to him not only in aesthetics, but also for his overarching philosophical development. He became interested in the possibilities of aesthetic conversation, in what we actually do when (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  5. Musicking as Knowing Human Beings.Eran Guter - 2023 - In Carla Carmona, David Perez-Chico & Chon Tejedor (eds.), Intercultural Understanding After Wittgenstein. Anthem. pp. 77-91.
    While Wittgenstein harked back to Romantic sentiments concerning the ineffable connection between musical depth and knowledge of human inner life, he nonetheless responded to them critically, while at the same time interweaving them into his forward thinking about the philosophic entanglements of language and the mind. In this paper I offer a thorough reading of Wittgenstein’s reorientation of metaphors of musical depth in a way that is conducive to a conception of knowledge of human beings which pushes beyond the inner/outer (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  6. Affective Responses to Music: An Affective Science Perspective.Federico Lauria - 2023 - Philosophies 8 (2):16.
    Music has strong emotional powers. How are we to understand affective responses to music? What does music teach us about emotions? Why are musical emotions important? Despite the rich literature in philosophy and the empirical sciences, particularly psychology and neuroscience, little attention has been paid to integrating these approaches. This extensive review aims to redress this imbalance and establish a mutual dialogue between philosophy and the empirical sciences by presenting the main philosophical puzzles from an affective science perspective. The chief (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  7. Il corpo affettivo. L’esperienza sonora nella costituzione della persona.Elia Gonnella - 2022 - InCircolo - Rivista di Filosofia E Culture 14:175-197.
    Listening is not an incorporeal experience; we do not listen with our non-extended minds. We listen with all our body, and music can change completely our personal structure. It is through sound experience that we change and asset ourselves. Studies in the doctrine of affects often use sonorous metaphors and concepts such as Stimmung, resonance, consonance, that refer to sound experience. In this paper, I try first of all to show how listening is rooted in body experience. Then, I argue (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  8. Susanne Langer on Music and Time.Eran Guter & Inbal Guter - 2021 - Estetika: The European Journal of Aesthetics 58 (1):35-56.
    Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: ‘felt time’ and ‘clock time’. For Langer, musical time is exclusively felt time, and in this sense, music is ‘time made audible’. However, Langer also postulates a ‘strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this essay, we take issue with the ‘strong suspension thesis’, its philosophic foundation and its implications. We argue that this thesis (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  9. A Philosophical Account of Listening Musically.Paskalina Bourbon - 2020 - Contemporary Aesthetics 18.
    What is the distinctive character of musical experiences? An answer: musical experience is distinctive because it is of music. I argue, however, that the difference between musical and nonmusical experience cannot be explained with an ontological account of music per se. Instead, we have musical experiences of sounds whenever we listen and attend to sounds in a particular kind of way. I call this special kind of attention “musical listening.” One can explain why musical experiences are distinctive by explaining what (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  10. The Philosophical Significance of Wittgenstein’s Experiments on Rhythm, Cambridge 1912–13.Eran Guter - 2020 - Estetika: The European Journal of Aesthetics 57 (1):28-43.
    Wittgenstein’s experiments on rhythm, conducted in Charles Myers’s laboratory in Cambridge during the years 1912–13, are his earliest recorded engagement in thinking about music, not just appreciating it, and philosophizing by means of musical thinking. In this essay, I set these experiments within their appropriate intellectual, scientific, and philosophical context in order to show that, its minor scientific importance notwithstanding, this onetime excursion into empirical research provided an early onset for Wittgenstein’s career-long exploration of the philosophically pervasive implications of aspects. (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  11. Shared Musical Experiences.Brandon Polite - 2019 - British Journal of Aesthetics 59 (4):429-447.
    In ‘Listening to Music Together’, Nick Zangwill offers three arguments which aim to establish that listening to music can never be a joint activity. If any of these arguments were sound, then our experiences of music, qua object of aesthetic attention, would be essentially private. In this paper, I argue that Zangwill’s arguments are unsound and I develop an account of shared musical experience that defends three main conclusions. First, joint listening is not merely possible but a common feature of (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   9 citations  
  12. Beyond Musical Metaphysics: A Philosophical Account of Listening to Music.Paskalina Bourbon - 2018 - Revista Portuguesa de Filosofia 74 (4):1377-1398.
    Music’s original philosophical problem is ontological: what is it? In this paper, I argue that music has a better philosophical beginning; philosophical accounts of music should begin as philosophical accounts of listening to music. What distinguishes listening to music from hearing sound? My aim is to give a philosophical account of music by means of a description of a particular kind of interactive relationship we sometimes have to sound. Music, I shall argue, is not distinguished from sound because it has (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  13. 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 (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  14. Movement in Music. An Enactive Account of the Dynamic Qualities of Music.Francesca Forlè - 2016 - Humana Mente (16):169-185.
    In this paper I shall attempt to give an enactive account of the dynamic qualities of music. Starting from Krueger’s account of musical experience, I will highlight how music’s qualities of movement are constituted in the horizon of an embodied consciousness – that is, an embodied subject who can virtually or actually bodily entrain with music and then follow the musical profile. I will argue that the common rythmòs-structure of both music and movement makes such an enactive constitution possible. In (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  15. 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). Boston: De Gruyter. 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 (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  16. Aesthetic Negativity and Aisthetic Traits.Jonathan Owen Clark - 2015 - Critical Horizons 16 (1):52-69.
    This article concerns the notion of aesthetic negativity, and related ideas regarding the autonomy of art. After giving some initial definitions and a brief historical sketch of these concepts, we will examine the definition proposed by arguably the greatest thinker of aesthetic negativity, Theodor Adorno, and its recent semiotic reconstruction in the work of Christoph Menke. This reconstruction configures aesthetic negativity and autonomy jointly as the capacity of artworks, and the experiences that they occasion; to processurally negate ‘‘automatic’’ modes of (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  17. The Music Between Us: Is Music a Universal Language? by Kathleen Marie Higgins. [REVIEW]Tom Cochrane - 2015 - Mind 124 (496):1288-1292.
  18. Impurely Musical Make-Believe.Eran Guter & Inbal Guter - 2015 - In Alexander Bareis & Lene Nordrum (eds.), How to Make-Believe: The Fictional Truths of the Representational Arts. De Gruyter. pp. 283-306.
    In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  19. An Imaginative Theory of Musical Space and Movement.Andrew Kania - 2015 - British Journal of Aesthetics 55 (2):157-172.
    The experience of notes as higher or lower than one another, and of movement within passages of music, underpins many other musical experiences. Several theories of such an experience have been defended, claiming that concepts of space and movement variously play some sort of metaphorical role in our experience, can be eliminated from musical discourse, or apply literally to the music. I argue that all such theories should be rejected in favour of the view that our experience of musical space (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   7 citations  
  20. 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 (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   6 citations  
  21. Empathy beyond the head: Comment on "Music, empathy, and cultural understanding".Joel Krueger - 2015 - Physics of Life Reviews 15:92-93.
  22. 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 (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark   5 citations  
  23. 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 (...)
    Remove from this list   Direct download (7 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  24. (1 other version)Interpretation.L. May Eldonna - 2014 - In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications.
  25. The Varieties of Musical Experience.Brandon Polite - 2014 - Pragmatism Today 5 (2):93-100.
    Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  26. (1 other version)To Think or Not To Think: The apparent paradox of expert skill in music performance.Andrew Geeves, Doris J. F. McIlwain, John Sutton & Wayne Christensen - 2013 - Educational Philosophy and Theory (6):1-18.
    Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. For (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark   14 citations  
  27. In Praise of Ambiguity: Musical Subtlety and Merleau-Ponty.Tiger C. Roholt - 2013 - Contemporary Aesthetics 11.
    When a jazz, rock, or hip-hop drummer strikes certain notes in each measure slightly late, instead of hearing the degree to which those notes are late, we typically hear the effects of those variations; namely, a groove, the "feel" of a rhythm. Slight variations of pitch function similarly. In this essay, I argue that certain analytic theorists go astray due to their preoccupation with the variations themselves. By invoking Maurice Merleau- Ponty's insights into subtle visual perceptions, and his notion of (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  28. What Studios Do.Eliot Bates - 2012 - Journal on the Art of Record Production 7 (1).
    Studios resist reductive analyses. Although isolated, they have their own frontstages and backstages, and like the laboratories studied by Knorr-Cetina, function as more than simply “internal environments.” The placeness of studios leaves both audible traces (the early reflections of sounds) and visible ones, if we think of those studios that become shrines or pilgrimage sites, or photo or video documentation of studios that provide the outside world a brief glimpse into the interior isolation of recording studio life. It would seem (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  29. From formalism to experience: a Jamesian perspective on music, computing, and consciousness.Meurig Beynon - 2011 - In David Clarke & Eric Clarke (eds.), Music and consciousness: philosophical, psychological, and cultural perspectives. New York: Oxford University Press.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  30. The Routledge Companion to Philosophy and Music.Theodore Gracyk & Andrew Kania (eds.) - 2011 - New York: Routledge.
    _The Routledge Companion to Philosophy and Music_ is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of music music, philosophy and related disciplines _The Routledge Companion to Philosophy and Music_ is essential reading for anyone interested in philosophy, music and musicology.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   6 citations  
  31. Enacting Musical Content.Joel Krueger - 2011 - In Riccardo Manzotti (ed.), Situated Aesthetics: Art Beyond the Skin. Imprint Academic. pp. 63-85.
    This chapter offers the beginning of an enactive account of auditory experience—particularly the experience of listening sensitively to music. It investigates how sensorimotor regularities grant perceptual access to music qua music. Two specific claims are defended: (1) music manifests experientially as having complex spatial content; (2) sensorimotor regularities constrain this content. Musical content is thus brought to phenomenal presence by bodily exploring structural features of music. We enact musical content.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   10 citations  
  32. Doing things with music.Joel W. Krueger - 2011 - Phenomenology and the Cognitive Sciences 10 (1):1-22.
    This paper is an exploration of how we do things with music—that is, the way that we use music as an esthetic technology to enact micro-practices of emotion regulation, communicative expression, identity construction, and interpersonal coordination that drive core aspects of our emotional and social existence. The main thesis is: from birth, music is directly perceived as an affordance-laden structure. Music, I argue, affords a sonic world, an exploratory space or nested acoustic environment that further affords possibilities for, among other (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   31 citations  
  33. The music instinct: how music works and why we can't do without it.Philip Ball - 2010 - New York: Oxford University Press.
    The Music Instinct Philip Ball provides the first comprehensive, accessible survey of what is known--and what is still unknown--about how music works its magic, and why, as much as eating and sleeping, it seems indispensable to humanity. --from publisher description.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   4 citations  
  34. Why Music Moves Us - Jeanette Bicknell. [REVIEW]Christopher Bartel - 2010 - Journal of Aesthetics and Art Criticism 68 (3):317-319.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  35. Confessions of an unrepentant timbral sonicist.Julian Dodd - 2010 - British Journal of Aesthetics 50 (1):33-52.
    Simplifying somewhat, sonicists believe that works of music are individuated purely in terms of how they sound. For them, exact sound-alikes are identical. Stephen Davies, in his ‘Musical Works and Orchestral Colour’ ( BJA 48 (2008), pp. 363–375) took me to task for defending a version of sonicism. In this paper I seek to explain why Davies's objections miss their mark. In the course of the discussion, I make some methodological remarks about the ontology of music.
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    Bookmark   6 citations  
  36. Sonic art and the nature of sonic events.David Roden - 2010 - Review of Philosophy and Psychology 1 (1):141-156.
    Musicians and theorists such as the radiophonic pioneer Pierre Schaeffer, view the products of new audio technologies as devices whereby the experience of sound can be displaced from its causal origins and achieve new musical or poetic resonances. Accordingly, the listening experience associated with sonic art within this perspective is ‘acousmatic’; the process of sound generation playing no role in the description or understanding of the experience as such. In this paper I shall articulate and defend a position according to (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   7 citations  
  37. Musical Musical Nuance.Tiger C. Roholt - 2010 - Journal of Aesthetics and Art Criticism 68 (1):1-10.
  38. Scruton's musical experiences.Nick Zangwill - 2010 - Philosophy 85 (1):91-104.
    Roger Scruton’s account of the nature of music and our experience of it foregrounds the imagination. It is a particularly interesting and promising ‘non-realist’ view in the aesthetics of music, in the sense that it does not postulate aesthetic properties of music that we represent in musical experience. In this paper I critically examine both Scruton’s view and his main argument for it.
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  39. Musical recordings.Andrew Kania - 2009 - Philosophy Compass 4 (1):22-38.
    In this article, I first consider the metaphysics of musical recordings: their variety, repeatability, and transparency. I then turn to evaluative or aesthetic issues, such as the relative virtues of recordings and live performances, in light of the metaphysical discussion.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark   6 citations  
  40. Enacting Musical Experience.Joel Krueger - 2009 - Journal of Consciousness Studies 16 (2-3):98-123.
    I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we listen to music with (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   27 citations  
  41. Experience and Consciousness: Enhancing the Notion of Musical Understanding.Adriana Renero - 2009 - Critica 41 (121):23-46.
    Disagreeing with Jerrold Levinson's claim that being conscious of broad-span musical form is not essential to understanding music, I will argue that our awareness of musical architecture is significant to achieve comprehension. I will show that the experiential model is not incompatible with the analytic model. My main goal is to show that these two models can be reconciled through the identification of a broader notion of understanding. After accomplishing this reconciliation by means of my new conception, I will close (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  42. Musical Experience, Philosophical Perspectives.Tiger C. Roholt - 2009 - In Patrick Wilken, Timothy J. Bayne & Axel Cleeremans (eds.), The Oxford Companion to Consciousness. New York: Oxford University Press.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  43. Radiohead and Some Questions about Music.Edward Slowik - 2009 - In George Reisch & B. W. Forbes (eds.), Radiohead and Philosophy. pp. 41-52.
    This essay examines the music of Radiohead as a means of introducing various elementary concepts and theories in the philosophy of music.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  44. Music, mind, and morality: Arousing the body politic.Philip Alperson & Noël Carroll - 2008 - Journal of Aesthetic Education 42 (1):1-15.
    In lieu of an abstract, here is a brief excerpt of the content:Music, Mind, and Morality:Arousing the Body PoliticPhilip Alperson (bio) and Noël Carroll (bio)I. IntroductionIf like Aristotle one agrees that the responsibility of philosophy is to offer as comprehensive a picture of phenomena as possible, then one must admit that sometimes the methods and goals of analytic philosophy stand in the way of getting the job done properly; they may even distort one's findings. This is not said in order (...)
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  45. (1 other version)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 (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  46. 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, (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  47. The philosophy of music.Andrew Kania - 2008 - Stanford Encyclopedia of Philosophy.
    This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   19 citations  
  48. The sounding of the world: Aesthetic reflections on traditional Gong music of vietnam.Philip Alperson, B. E. N. Chí & To Ngoc Thanh - 2007 - Journal of Aesthetics and Art Criticism 65 (1):11–20.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  49. (1 other version)Explaining musical experience.Paul Boghossian - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. New York: Oxford University Press UK. pp. 117.
    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 the (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   2 citations  
  50. (1 other version)Explaining musical experience.Paul Boghossian - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. New York: Oxford University Press UK.
    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 the (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
1 — 50 / 69