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

517 found
Order:
1 — 50 / 517
Material to categorize
  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 (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  2. Who Is the Artist If Works of Art Are Action Types?Theodore Gracyk - 2001 - Journal of Aesthetic Education 35 (2):11.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  3. Musical Multiculturalism Revisited.Estelle R. Jorgensen - 1998 - Journal of Aesthetic Education 32 (2):77.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  4. Incoherence and Musical Appreciation.Matthew Kieran - 1996 - Journal of Aesthetic Education 30 (1):39.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  5. The Performer, the Score, the Work: Musical Performance and Transactional Reading.Eleanor V. Stubley - 1995 - Journal of Aesthetic Education 29 (3):55.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  6. Stage Theories of Musical Development.Constantijn Koopman - 1995 - Journal of Aesthetic Education 29 (2):49.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  7. Reconceiving Notation and Performance.Paul Hernadi - 1991 - Journal of Aesthetic Education 25 (1):47.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  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.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   5 citations  
  9. La notion et le rôle de l'infini musical.Machabey Machabey - 1913 - Revue Philosophique de la France Et de l'Etranger 76:69-77.
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  10. Conducting And Musical Interpretation.Stephanie A. Ross & Jennifer Judkins - 1996 - British Journal of Aesthetics 36 (1):16-29.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  11. Works of Music: An Essay in Ontology: Book Reviews. [REVIEW]Ben Caplan - 2007 - British Journal of Aesthetics 47 (4):445-446.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  12. Musical Noise.James R. Hamilton - 1999 - British Journal of Aesthetics 39 (4):350-363.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  13. Musical Meaning and Social Reproduction: A Case for Retrieving Autonomy.Lucy Green - 2005 - Educational Philosophy and Theory 37 (1):77-92.
    In this article I propose a theory of musical meaning and experience which takes into consideration the dialectical relationship between musical text and context, and which is flexible enough to apply to a range of musical styles. Through this theory I examine the roles played by the school music classroom which, despite the multiplicity of musical styles now incorporated into schooling, continues to contribute to the reproduction of existing social relations in the wider society. I consider how music itself can (...)
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  14. Beghinae in Cantu Instructae: Musical Patrimony From Flemish Beguinages. [REVIEW]Susan Forscher Weiss - 2011 - Speculum 86 (4):1094-1095.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  15. Musical Works and Performances: A Philosophical Exploration. [REVIEW]Gordon Graham - 2002 - International Philosophical Quarterly 42 (3):409-410.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  16. What Is It to Compose a Musical Work?Maria Elisabeth Reicher - 2000 - Grazer Philosophische Studien 58 (1):203-221.
    The paper deals with the question whether musical works are created or discovered. In the preliminaries some ontological presuppositions concerning the nature of a musical work setting the stage for the whole debate and the Creationist and Platonist views are discussed. The psychological concepts of creation and discovery are distinguished from their ontological counterparts and it turns out that only the ontological ones are relevant in this context and that the Creationist arguments fail to prove the point in question. Finally (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  17. Nietzsche’s Musical Conception of Time.Jonathan R. Cohen - 2008 - In Manuel Dries (ed.), Nietzsche on Time and History. Walter de Gruyter. pp. 291.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  18. 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 (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  19. 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.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  20. Musical Notations of the Orient.Rulan Chao Pian & Walter Kaufmann - 1968 - Journal of the American Oriental Society 88 (3):636.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  21. Foundations of Chinese Musical Art.J. K. Shryock & John Hazedel Levis - 1937 - Journal of the American Oriental Society 57 (2):201.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  22. 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 (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   1 citation  
  23. The Hagiopolites. A Byzantine Treatise on Musical Theory.P. Agapetos - 1984 - Byzantinische Zeitschrift 77 (2).
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  24. Guillaume de Machaut and Reims: Context and Meaning in His Musical Works. Anne Walters Robertson.Marie Louise Göllner - 2005 - Speculum 80 (3):965-967.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  25. Alejandro Enrique Planchart, Ed., Beneventanum Troporum Corpus, 1: Tropes of the Proper of the Mass From Southern Italy, AD 1000–1250. 2 Vols.(Recent Researches in the Music of the Middle Ages and Early Renaissance, 16–17.) Madison, Wis.: AR Editions, 1994. Paper. 1: Pp. Lvi, 95; 2 Black-and-White Plates, Tables, Musical Examples. 2: Pp. Viii, 250; Musical Examples. 1: $47.95. 2: $79.95. [REVIEW]Richard Crocker - 1996 - Speculum 71 (3):756-758.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  26. 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.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  27. Musical Elaborations.Downing Thomas - 1994 - Substance 23 (1):147.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   5 citations  
  28. States, Activities and Performances.Timothy C. Potts & C. C. W. Taylor - 1965 - Aristotelian Society Supplementary Volume 39 (1):65-102.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  29. Number to Sound: The Musical Way to the Scientific Revolution. Paolo Gozza.Jamie C. Kassler - 2001 - Isis 92 (4):769-770.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  30. Studies in Musical Science in the Late Renaissance. D. P. Walker.Stillman Drake - 1980 - Isis 71 (2):347-348.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  31. Musical Thought in Ancient Greece. Edward A. Lippman.Claude V. Palisca - 1965 - Isis 56 (2):237-237.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  32. F. Salinas y la Teoría Musical de Finales Del Renacimiento.J. Javier Goldáraz Gaínza - 1998 - Arbor 160 (628):371-392.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  33. 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.
    Remove from this list   Direct download (2 more)  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  34. 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 (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  35. The Musical Legacy of Wartime France.H. Hazel Hahn - 2016 - The European Legacy 21 (2):225-227.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  36. 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.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  37. Musical Representation and the Evaluation of Musical Performances.Kalle Puolakka - 2010 - SATS 11 (2):219-234.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  38. Musical Aphorisms and Common Aesthetic Quandaries.Yaroslav Senyshyn - 2003 - Philosophy of Music Education Review 11 (2):112-129.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  39. Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect.Bennett Reimer - 2004 - Philosophy of Music Education Review 12 (1):4-16.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  40. Le Temps Musical.Philippe Capelle-Dumont - 2014 - Revue des Sciences Religieuses 88:149-159.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  41. 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..
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  42. 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 (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  43. The Musical Representation: Meaning, Ontology, and Emotion.William A. Everett - 2014 - The European Legacy 19 (7):928-930.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  44. 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, (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  45. 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 (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  46. 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.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  47. 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 (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  48. Na Kkai Taku: Taku’s Musical Fables. [REVIEW]Regis Stella - unknown - South Pacific Journal of Philosophy and Culture 8.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  49. 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 (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  50. 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.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
1 — 50 / 517