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  1. Interstitial Soundings: Philosophical Reflections on Improvisation, Practice, and Self-Making.Cynthia R. Nielsen - 2015
    In Interstitial Soundings, Cynthia R. Nielsen brings music and philosophy into a fruitful and mutually illuminating dialogue. Topics discussed include the following: music's dynamic ontology, performers and improvisers as co-composers, the communal character of music, jazz as hybrid and socially constructed, the sociopolitical import of bebop, Afro-modernism and its strategic deployments, jazz and racialized practices, continuities between Michel Foucault's discussion of self-making and creating one's musical voice, Alasdair MacIntyre on practice, and how one might harmonize MacIntyre's notion of virtue development (...)
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  2. Who Is the Artist If Works of Art Are Action Types?Theodore Gracyk - 2001 - Journal of Aesthetic Education 35 (2):11.
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  3. Musical Multiculturalism Revisited.Estelle R. Jorgensen - 1998 - Journal of Aesthetic Education 32 (2):77.
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  4. Incoherence and Musical Appreciation.Matthew Kieran - 1996 - Journal of Aesthetic Education 30 (1):39.
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  5. The Performer, the Score, the Work: Musical Performance and Transactional Reading.Eleanor V. Stubley - 1995 - Journal of Aesthetic Education 29 (3):55.
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  6. Stage Theories of Musical Development.Constantijn Koopman - 1995 - Journal of Aesthetic Education 29 (2):49.
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  7. Reconceiving Notation and Performance.Paul Hernadi - 1991 - Journal of Aesthetic Education 25 (1):47.
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  8. A Return to Musical Idealism.Wesley D. Cray & Carl Matheson - 2017 - Australasian Journal of Philosophy 95 (4):702-715.
    In disputes about the ontology of music, musical idealism—that is, the view that musical compositions are ideas—has proven to be rather unpopular. We argue that, once we have a better grip on the ontology of ideas, we can formulate a version of musical idealism that is not only defensible, but plausible and attractive. We conclude that compositions are a particular kind of idea: they are completed ideas for musical manifestation.
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  9. Conducting And Musical Interpretation.Stephanie A. Ross & Jennifer Judkins - 1996 - British Journal of Aesthetics 36 (1):16-29.
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  10. Hermeneutical Poetics: A Philosophical Grounding for Consistent Performances.Claire Pennock & Dennis Packard - 2016 - Journal of Aesthetic Education 50 (3):53-72.
    Performance theorists have identified a central problem in live artistic performances— sometimes a performance is transcendently good, but more often it is not. Even the best performers give uneven performances over time, and educators are frequently at a loss as to what teaching methods will counteract this phenomenon. So how can we provide a useful approach for educators to reduce inconsistency, without sacrificing quality, in the performing arts? This is the question that we hope to address in this paper, by (...)
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  11. Kālidāsa-Kośa. A Classified Register of the Flora, Fauna, Geographical Names, Musical Instruments and Legendary Figures in Kālidāsa's WorksKalidasa-Kosa. A Classified Register of the Flora, Fauna, Geographical Names, Musical Instruments and Legendary Figures in Kalidasa's Works.Ludo Rocher, Sures Chandra Banerji, Kālidāsa & Kalidasa - 1970 - Journal of the American Oriental Society 90 (2):410.
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  12. Musical Notations of the Orient.Rulan Chao Pian & Walter Kaufmann - 1968 - Journal of the American Oriental Society 88 (3):636.
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  13. Foundations of Chinese Musical Art.J. K. Shryock & John Hazedel Levis - 1937 - Journal of the American Oriental Society 57 (2):201.
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  14. Music, Restoration, Performance and Ontology: A Guide for the Perplexed.Lisa Giombini - unknown
    I investigate the nature of the relationships between art and metaphysics in the tradition of classical music, performance art, and art restoration. The first part of the thesis is dedicated to the study of Musical Ontology. I begin in Chapter one by analyzing several theories of what a classical musical work is ontologically. I focus specifically on Idealism, Nominalism and Platonism. I defend the view that none of these proposals is fully satisfactory and able to resist objections. This leads in (...)
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  15. The Hagiopolites. A Byzantine Treatise on Musical Theory.P. Agapetos - 1984 - Byzantinische Zeitschrift 77 (2).
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  16. Guillaume de Machaut and Reims: Context and Meaning in His Musical Works. Anne Walters Robertson.Marie Louise Göllner - 2005 - Speculum 80 (3):965-967.
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  17. Forms and Meanings: Texts, Performances, and Audiences From Codex to Computer.Eric D. Friedman, Roger Chartier, Lydia G. Cochrane, Milad Doueihi & David D. Hall - 1997 - Substance 26 (1):163.
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  18. Musical Elaborations.Downing Thomas & Edward W. Said - 1994 - Substance 23 (1):147.
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  19. Number to Sound: The Musical Way to the Scientific Revolution. Paolo Gozza.Jamie C. Kassler - 2001 - Isis 92 (4):769-770.
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  20. Studies in Musical Science in the Late Renaissance. D. P. Walker.Stillman Drake - 1980 - Isis 71 (2):347-348.
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  21. Musical Thought in Ancient Greece. Edward A. Lippman.Claude V. Palisca - 1965 - Isis 56 (2):237-237.
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  22. F. Salinas y la Teoría Musical de Finales Del Renacimiento.J. Javier Goldáraz Gaínza - 1998 - Arbor 160 (628):371-392.
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  23. El Cine Musical de Roberta Torre: Un Retrato Postmoderno de la Sicilia de Finales Del Siglo XX.Eduardo Viñuela - 2012 - Arbor 188 (758):1075-1085.
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  24. Skipping the Tracks. The Experience of Musical Improvisation Online.Roberto Zanetti - 2016 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):71-86.
    The present article aims at analyzing the social and ontological effects of listening music online, with particular attention to the artistic practice of improvisation. In the first paragraph, I will briefly explain the essential concepts which ontology of music has traditionally counted on, and I will suggest an alternative theoretical approach, that I define as ontology of musical act. Then I will investigate the relation between recording practices and improvisation. In the final paragraph I will compare some features of musical (...)
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  25. The Musical Legacy of Wartime France.H. Hazel Hahn - 2016 - The European Legacy 21 (2):225-227.
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  26. Musical Works as ‘Higher Times’: Concert Culture in a Secular Age.Oane Reitsma - 2016 - In Guido Vanheeswijck, Colin Jager & Florian Zemmin (eds.), Working with a Secular Age: Interdisciplinary Perspectives on Charles Taylor's Master Narrative. De Gruyter. pp. 229-244.
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  27. Musical Representation and the Evaluation of Musical Performances.Kalle Puolakka - 2010 - SATS 11 (2):219-234.
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  28. Musical Aphorisms and Common Aesthetic Quandaries.Yaroslav Senyshyn - 2003 - Philosophy of Music Education Review 11 (2):112-129.
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  29. Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect.Bennett Reimer - 2004 - Philosophy of Music Education Review 12 (1):4-16.
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  30. Le Temps Musical.Philippe Capelle-Dumont - 2014 - Revue des Sciences Religieuses 88:149-159.
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  31. You Complete Me: Posthumous Works and Secondary Agency. Bacharach & Tollefsen - 2015 - Journal of Aesthetic Education 49 (4):71-86.
    Many works are attributed to artists after their death, even when someone else has contributed substantively to the content of the work or when the work left by the artist is deemed incomplete by any standard of completion. Call these works posthumous works.1 Consider, for instance, Garden of Eden, Mysterious Stranger, Silmarillion, Symphony No. 10, Symphony No. 7, Sagrada Familia, the film A.I., Woyzeck, to name just a few. These are examples where..
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  32. Monadology and Music.Soshichi Uchii - unknown
    In this paper, I will present an analogy between Leibniz’s Monadology and musical works. A musical work is usually written down in a score. It is divided into many voice parts, and for every part, it gives all musical information necessary for performance. Now, since any such score specifies all notes of that musical work, at once, it can be regarded as atemporal; musical time does not flow in a score. And it does not specify spatial relations among the voice (...)
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  33. The Musical Representation: Meaning, Ontology, and Emotion.William A. Everett - 2014 - The European Legacy 19 (7):928-930.
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  34. Against Kania’s Fictionalism About Musical Works.Philip Letts - 2015 - British Journal of Aesthetics 55 (2):209-224.
    Andrew Kania has attempted to argue for nihilistic fictionalism about musical works. This view combines an error theory about musical work discourse with the proposal that musical work discourse has a non-alethic value which warrants continued participation in it. In this paper, I argue that Kania fails to establish either component of nihilistic fictionalism. First, I elaborate and reject Kania’s attempt to establish fictionalism on the basis of a methodological proposal he calls ‘descriptivism’. I argue that the methodology is unpopular, (...)
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  35. Towards a Theory of Musical Reproduction: Notes, a Draft and Two Schemata.Henri Lonitz & Weiland Honban (eds.) - 2006 - Polity.
    At the beginning of his career in the 1920s, Adorno sketched a plan to write a major work on the theory of musical reproduction, a task he returned to time and again throughout his career but never completed. The choice of the word reproduction as opposed to interpretation indicates a primary supposition: that there is a clearly defined musical text whose precision exceeds what is visible on the page, and that the performer has the responsibility to reproduce it as accurately (...)
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  36. Musical Representations, Subjects, and Objects: The Construction of Musical Thought in Zarlino, Descartes, Rameau, and Weber.Jairo Moreno - 2004 - Indiana University Press.
    Jairo Moreno adapts the methodologies and nomenclature of Foucault’s "archaeology of knowledge" and applies it through individual case studies to the theoretical writings of Zarlino, Descartes, Rameau, and Weber. His conclusion summarizes the conditions—musical, philosophical, and historical—that "make a certain form of thought about music necessary and possible at the time it emerges." Musical Meaning and Interpretation—Robert S. Hatten, editor.
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  37. SHUT UP 'N' PLAY! Negotiating the Musical Work.Stefan Östersjö - unknown
    'SHUT UP ’N’ PLAY! Negotiating the Musical Work’ is a piece of artistic research that attempts to merge artistic practice, qualitative research methods and critical analysis in a project concerned with contemporary performance practices, and specifically how these practices are created and transmitted in the interaction between composer and performer. By way of a critical reading of the musico-philosophical discussion of the ontology of the musical work and by way of a deconstruction of the concept of musical interpretation I propose (...)
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  38. Na Kkai Taku: Taku’s Musical Fables. [REVIEW]Regis Stella - unknown - South Pacific Journal of Philosophy and Culture 8.
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  39. Towards a Theory of Musical Reproduction.Henri Lonitz & Weiland Honban (eds.) - 2006 - Wiley.
    At the beginning of his career in the 1920s, Adorno sketched a plan to write a major work on the theory of musical reproduction, a task he returned to time and again throughout his career but never completed. The choice of the word reproduction as opposed to interpretation indicates a primary supposition: that there is a clearly defined musical text whose precision exceeds what is visible on the page, and that the performer has the responsibility to reproduce it as accurately (...)
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  40. Julian Dodd's "Works of Music: An Essay in Ontology". [REVIEW]Margot Wielgus - 2010 - American Society for Aesthetics Graduate E-Journal 2 (2):17-18.
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  41. Fostering Musical Talent.Ervin Laszlo - 1969 - Journal of Aesthetic Education 3 (1):55.
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  42. The Score as Musical Object.A. Cutler Silliman - 1969 - Journal of Aesthetic Education 3 (4):97.
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  43. Toward an Ontology of Musical Works of Art.Jo Ellen Jacobs - 1977 - Dissertation, Washington University
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  44. Julian Dodd, Works of Music: An Essay in Ontology. [REVIEW]James Young - 2008 - Philosophy in Review 28 (3):184-187.
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  45. Charles O. Nussbaum, The Musical Representation: Meaning, Ontology, and Emotion. [REVIEW]Christopher Bartel - 2008 - Philosophy in Review 28 (3):212-214.
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  46. A Theory of Diatonic Musical Scores.William Earl Webster - 1971 - Dissertation, University of Pennsylvania
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  47. The Lyric on Musical Composition Series by Onchi Koshiro: A Case Study of Japanese Abstract Painting in the 1930s.Noriko Kuwahara - 2004 - Bigaku 54 (3):29.
    Onchi Koshiro, one of the earliest pioneers of abstract paintings in Japan, executed a series of woodblock prints entitled the Lyric on Musical Composition in the 1930s. This series, which created under the inspiration of contemporary Japanese and European music, is worthy of note as exceptional abstract work in the first half of 1930s, a period that is called the blank era of abstract paintings." In this paper, I examine why Onchi made these abstract prints on musical compositions in such (...)
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  48. The Origin of Mu of Zeami's Theory of Noh: Concerning the Role His Musical Theory Played.Kyo Tamamura - 2005 - Bigaku 56 (1):69-81.
    Mu is one of the most important topics of Zeami's theory of Noh. It means a kind of excellence whose characters are; it has no tangible charm that makes deep impression; it cannot be performed intentionally; and it is attained only by a prominent actor after lifelong learning. It has been supposed that the Buddhist thought, especially Zen, had a great impact upon Zeami's mu. Yet how Zeami's own way of thinking and its metamorphosis influenced the generation of the idea (...)
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  49. A Nominalistic Ontology of Music: Compositions as Concrete Particulars.Scott Kenneth Tjaden - 1991 - Dissertation, Loyola University of Chicago
    The ontological status of musical artworks, or compositions, is a perplexing and perennial philosophical problem. Numerous proposals for characterizing just what sort of things compositions are have been offered from far-ranging perspectives by various thinkers on the matter. One sort of approach which seemed to me to be missing, was a detailed and explicit attempt to regard musical works nominalistically; that is, to construe them solely as individuals. This dissertation is just such an attempt. ;The present proposal seeks to go (...)
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  50. Musical Investigations: An Ontology of Music.Donald Raymond Keefer - 1988 - Dissertation, Temple University
    Ontological reflection on the arts serves several aims. One purpose is to provide some general criteria of identity of the work: to discover the features or elements which are constitutive of the work. Related to this, the aim of an ontology is to determine, if possible, the criteria of authenticity: under what conditions and with which features can an art work, literary work, or work in the performing arts be said to be the same work? Each arena of artistic activity, (...)
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