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  1. The Hagiopolites. A Byzantine Treatise on Musical Theory.P. Agapetos - 1984 - Byzantinische Zeitschrift 77 (2).
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  2. Descartes's Musical Treatise.T. Aho - 1999 - Acta Philosophica Fennica 64:233-248.
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  3. Musical Space Synesthesia: Automatic, Explicit and Conceptual Connections Between Musical Stimuli and Space.Lilach Akiva-Kabiri, Omer Linkovski, Limor Gertner & Avishai Henik - 2014 - Consciousness and Cognition 28:17-29.
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  4. Robust Praxialism and the Anti-Aesthetic Turn.Philip Alperson - 2010 - Philosophy of Music Education Review 18 (2):171-193.
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  5. Schopenhauer and Musical Revelation.Philip Alperson - 1981 - Journal of Aesthetics and Art Criticism 40 (2):155-166.
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  6. Musical Kinds.James C. Anderson - 1985 - British Journal of Aesthetics 25 (1):43-49.
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  7. Musical Identity.James C. Anderson - 1982 - Journal of Aesthetics and Art Criticism 40 (3):285-291.
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  8. Armonía Musical Y Lo Real En Las Lecciones de Estética de Hegel.Camilo Andres Gutierrez Romcro - 2012 - Universitas Philosophica 29 (59):195-210.
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  9. Brazilian Identities and Musical Performances.S. Araujo - 2000 - Diogenes 48 (191):115-125.
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  10. Musical Improvisation.Richard Ashley - 2011 - In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oxford University Press.
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  11. You Complete Me: Posthumous Works and Secondary Agency.Sondra Bacharach & Deborah 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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  12. Our Musical Idiom.Ernst Lecher Bacon - 1917 - The Monist 27 (4):560-607.
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  13. Musical Culture as a Configuration of Subcultures.G. Banaszak - 1996 - Poznan Studies in the Philosophy of the Sciences and the Humanities 47:517-530.
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  14. Scholarship and the Musical: Reclaiming Jerome Kern.Stephen Banfield - 2004 - In Proceedings of the British Academy Volume 125, 2003 Lectures. pp. 183-210.
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  15. Evaluating a Performance -- Ideal Vs. Great Performance.Gilead Bar-Elli - 2004 - Journal of Aesthetic Education 38 (2):7-19.
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  16. Ideal Performance.Gilead Bar-Elli - 2002 - British Journal of Aesthetics 42 (3):223-242.
    Based on a conception that a musical composition is constituted by normative properties, it is argued that every such composition has one ideal performance—a performance that fulfils all the aesthetic-normative properties that the composition determines. A performance is conceived of (and evaluated) as inherently and essentially ‘intentionalistic’—being, by its very nature, a performance of a certain composition. This conception allows for various different performances, none of which is preferable over the others. The properties concerned are conceived of broadly as comprising (...)
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  17. Performances of Law Under Postmodern Conditions.Lucy Dawn Barnes - unknown
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  18. Charles O. Nussbaum, The Musical Representation: Meaning, Ontology, and Emotion. [REVIEW]Christopher Bartel - 2008 - Philosophy in Review 28:212-214.
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  19. Conceiving Musical Transdialection.Richard Beaudoin & Joseph Moore - 2010 - Journal of Aesthetics and Art Criticism 68 (2):105-117.
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  20. "The Psychology of Musical Ability": Rosamund Shuter-Dyson and Clive Gabriel. [REVIEW]F. Berenson - 1983 - British Journal of Aesthetics 23 (1):93.
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  21. Paganini Does Not Repeat. Musical Improvisation and the Type/Token Ontology.Bertinetto Alessandro - 2012 - Teorema: International Journal of Philosophy 31 (3):105-126.
    This paper explores the ontology of musical improvisation (MI). MI, as process in which creative and performing activities are one and the same generative occurrence, is contrasted with the most widespread conceptual resource used in inquiries about music ontology of the Western tradition: the type/token duality (TtD). TtD, which is used for explaining the relationship between musical works (MWs) and performances, does not fit for MI. Nonetheless MI can be ontologically related to MWs. A MW can ensue from MI and (...)
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  22. The Problem of Reference in Musical Quotation: A Phenomenological Approach.Jeanette Bicknell - 2001 - Journal of Aesthetics and Art Criticism 59 (2):185–191.
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  23. The Interpretation of Bach's Keyboard Works.Erwin Bodky - 1961 - Journal of Aesthetics and Art Criticism 20 (1):101-101.
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  24. Some Words Used in Appraising Works of Art.E. J. Bond - 1976 - British Journal of Aesthetics 16 (2):108-116.
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  25. Dire Cela, Sans Savoir Quoi : The Question of Meaning in Adorno and in the Musical Avantgarde.Gianmario Borio - 2006 - In Berthold Hoeckner (ed.), Apparitions: New Perspectives on Adorno and Twentieth Century Music. Routledge.
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  26. Extant Medieval Musical Instruments: A Provisional Catalogue By Types. [REVIEW]Edmund Bowles - 1974 - Speculum 49 (2):324-326.
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  27. Where's It at", Postmodern Theory and the Contemporary Musical Field.David Brackett - 2002 - In Judith Irene Lochhead & Joseph Henry Auner (eds.), Postmodern Music/Postmodern Thought. Routledge. pp. 207--225.
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  28. The Case for Collective Musical Creation.C. Brailoiu - 1959 - Diogenes 7 (25):74-83.
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  29. Musiques exotiques et valeurs permanentes de l'art musical.Gisèle Brelet - 1946 - Revue Philosophique de la France Et de l'Etranger 136 (1/3):71 - 96.
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  30. Can Musical Notation Help English Scansion?Calvin S. Brown - 1965 - Journal of Aesthetics and Art Criticism 23 (3):329-334.
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  31. Musical Works, Improvisation, and the Principle of Continuity.Lee B. Brown - 1996 - Journal of Aesthetics and Art Criticism 54 (4):353-369.
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  32. The Uses of Works of Art.Teddy Brunius - 1963 - Journal of Aesthetics and Art Criticism 22 (2):123-133.
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  33. Review of Julian Dodd, Works of Music: An Essay in Ontology[REVIEW]Franklin Bruno - 2007 - Notre Dame Philosophical Reviews 2007 (12).
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  34. El fenómeno del teatro musical en España.Margarita Garbisu Buesa - 2005 - Critica 55 (924):68-71.
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  35. Creación Musical En la Era Postdigital.Rodrigo F. Cádiz - 2012 - Aisthesis 52:449-475.
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  36. Does "Musical Improvisation" Refer?Robert Cantrick - 1985 - Journal of Aesthetics and Art Criticism 44 (2):192-193.
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  37. Le Temps Musical.Philippe Capelle-Dumont - 2014 - Revue des Sciences Religieuses 88:149-159.
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  38. Review of Julian Dodd, Works of Music: An Essay in Ontology[REVIEW]Ben Caplan - 2007 - British Journal of Aesthetics 47 (4):445-446.
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  39. Review of Works of Music, by Julian Dodd. [REVIEW]Ben Caplan - 2007 - British Journal of Aesthetics 47:445-6.
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  40. Works of Music: An Essay in Ontology.Ben Caplan - 2007 - British Journal of Aesthetics 47 (4):445-446.
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  41. Defending 'Defending Musical Perdurantism'.Ben Caplan & Carl Matheson - 2008 - British Journal of Aesthetics 48 (1):80-85.
    British Journal of Aesthetics (forthcoming Jan. 2008).
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  42. Hugo Riemann's Theory of “Dynamic Shading”: A Theory of Musical Meter?'.W. Caplin - 1985 - Theoria 1:1-24.
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  43. Book Review: Richard Shusterman. Performing Live: Aesthetic Alternatives for the Ends of Art. (New York: Cornell University Press, 2000.). [REVIEW]Gustavo D. Cardinal - 2004 - Philosophy of Music Education Review 12 (1):89-93.
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  44. Musical Form Regained.Patricia Carpenter - 1965 - Journal of Philosophy 62 (2):36-48.
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  45. Interpreting Musical Performances.David Carrier - 1983 - The Monist 66 (2):202-212.
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  46. The Construction of the Political Subjet an Approach to the Musical Work of Emir Kusturica & the No Smoking Orchestra, From the Work of Jacques Rancièree.Erika Castañeda - 2008 - Eidos: Revista de Filosofía de la Universidad Del Norte 8:212-221.
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  47. Sensory Theories of Musical Consonance.Norman Cazden - 1962 - Journal of Aesthetics and Art Criticism 20 (3):301-319.
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  48. Review: Mozart in Current Musical Esthetics. [REVIEW]Norman Cazden - 1953 - Science and Society 17 (1):65 - 71.
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  49. Musical Thought.Carlos Chavez - 1962 - Journal of Aesthetics and Art Criticism 21 (2):224-225.
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  50. A Phenomenology of Transition: A Musical Example.F. Chiereghin - 2002 - Verifiche: Rivista Trimestrale di Scienze Umane 31 (4):315-342.
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1 — 50 / 493