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  1. Contextualizing Platonism and Decontextualizing Aristotelianism in the Ontology of Music.Nemesio García‐Carril Puy - 2020 - Journal of Aesthetics and Art Criticism 78 (2):183-196.
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  2. The Distinctive Character of Musical Experience.Christopher Peacocke - 2020 - British Journal of Aesthetics 60 (2):183-197.
    The goal of this paper is to use the dual resources of the contemporary theory of intentional content and the notion of experiencing something metaphorically as something else, which I have defended in my earlier work, to explain the distinctive character of musical experience. These resources are used to explain Felix Mendelssohn’s point that emotional content in music can be more specific than anything capturable in language; to give an account of the role of metaphor in musical experience that does (...)
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  3. História da Música - Textos Breves.Juliano Gustavo Dos Santos Ozga - Julik - 2019 - Ouro Preto, MG, 35400-000, Brasil: J.G.S.Ozga Editor Independente.
    PREFÁCIO -/- A descoberta do ouro no interior de Minas Gerais, sobretudo em Vila Rica, atual cidade de Ouro Preto, desencadeou na formação de uma sociedade refinada. A febre pelo sonho dourado fez crescer o número de pessoas de diversas nações que migraram para lá em busca da riqueza.
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  4. Emphasis and Suggestion Versus Musical Taxidermy: Neoliberal Contradictions, Music Education, and the Knowledge Economy.J. Paul Louth - 2020 - Philosophy of Music Education Review 28 (1):88.
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  5. Disability and the Ideology of Ability: How Might Music Educators Respond?Warren N. Churchill & Cara Faith Bernard - 2020 - Philosophy of Music Education Review 28 (1):24.
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  6. Towards a (Self-)Compassionate Music Education: Affirmative Politics, Self-Compassion, and Anti-Oppression.Juliet Hess - 2020 - Philosophy of Music Education Review 28 (1):47.
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  7. Reading John Dewey's Art as Experience for Music Education.Leonard Tan - 2020 - Philosophy of Music Education Review 28 (1):69.
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  8. We Are All Haunted: Cultural Understanding and the Paradox of Trauma.Deborah Bradley - 2020 - Philosophy of Music Education Review 28 (1):4.
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  9. Avant-Gardes, Afrofuturism, and Philosophical Readings of Rhythm.Iain Campbell - 2019 - In Reynaldo Anderson & Clinton R. Fluker (eds.), The Black Speculative Arts Movement: Black Futurity, Art+Design. Lanham, MD: Lexington Books. pp. 27-49.
    Here I will put forward a claim about rhythm – that rhythm is relation. To develop this I will explore the entanglement of and antagonism between two notions of the musical avant-garde and its theorization. The first of these is derived from the European classical tradition, the second concerns Afrodiasporic musical practices. This essay comes in two parts. The first will consider some music-theoretical and philosophical ideas about rhythm in the post-classical avant-garde. Here I will explore how these ideas have (...)
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  10. Bachelard and Deleuze on and with Experimental Science, Experimental Philosophy, and Experimental Music.Iain Campbell - 2019 - In Guillaume Collett (ed.), Deleuze, Guattari, and the Problem of Transdisciplinarity. London: Bloomsbury. pp. 73-104.
    In this chapter I look at some questions around the notion of experimentation in philosophy, science, and the arts, through the thought of Gaston Bachelard and Gilles Deleuze. My argument is articulated around three areas of enquiry – Bachelard’s work on the experimental sciences, Deleuze’s notion of philosophy as an experimental practice, and recent musicological debate around the practical and political stakes of the term ‘experimental music’. By drawing together these three senses of experimentation, I test the possibilities of understanding (...)
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  11. Blurred Lines: Ravasio on “Historically Informed Performance”.Julian Dodd - 2020 - Journal of Aesthetics and Art Criticism 78 (1):85-90.
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  12. Historically Informed Performance: A Reply to Dodd.Matteo Ravasio - 2020 - Journal of Aesthetics and Art Criticism 78 (1):90-94.
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  13. Composers and Performers.Junyeol Kim - forthcoming - Philosophia:1-13.
    We take performers of classical music as producers of creative performances. We sometimes criticize a performer’s performance by saying ‘That is not what the composer wants’. The literature takes this kind of criticism, which I call ‘intentionalist criticism’, to be in tension with performers’ creativity—taking the criticism to be an attempt to restrict performers’ creativity by historical authenticity. This paper aims to construct a possible understanding of intentionalist criticisms according to which those criticisms are grounded in our respect of performers (...)
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  14. The «Musicalisezd Image»: A Joint Aesthetic of Music and Image in Film.Josep Torelló Oliver & Josephine Swarbrick - 2019 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 12 (2):165-175.
    Despite traditionally having been studied within the field of Musicology, the analysis of music in film should be approached as an aesthetic study of the relationship between «image» and «music» which is central to the cinematographic framework. From this interdisciplinary perspective numerous theoretical and methodological issues emerge. The aim of this article is to investigate, using both a synchronic and diachronic focus, some of the key issues arising from this joint music-image approach, in an attempt to develop a theoretical framework (...)
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  15. Philosophy of Music: A History.Riccardo Martinelli - 2019 - Berlino, Germania: de Gruyter.
    Ranging from Antiquity to contemporary analytic philosophy, this book provides a concise but thorough analysis of the arguments developed by some of the most outstanding philosophers of all times. Besides the aesthetics of music proper, the volume touches upon metaphysics, ethics, philosophy of language, psychology, anthropology, and scientific developments that have influenced the philosophical explanations of music. Starting from the very origins of philosophy in Western thought (Pythagoras, Plato, Aristotle) the book talks about what music is according to Augustine, Descartes, (...)
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  16. Charter Schools and Musical Choice. Hedgecoth - 2019 - Philosophy of Music Education Review 27 (2):192.
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  17. The Knowledge Democracy Connection and Music Education. McPhail & Rata - 2019 - Philosophy of Music Education Review 27 (2):112.
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  18. Response to Lauren Kapalka Richerme, “The Diversity Bargain and the Discourse Dance of Equitable and Best,” Philosophy of Music Education Review 27, No. 2. [REVIEW] Niknafs - 2019 - Philosophy of Music Education Review 27 (2):215.
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  19. Response to Chiao-Wei Liu, “Response to Leonard Tan and Mengchen Lu, ‘I Wish to Be Wordless’: Philosophizing Through the Chinese Guqin_,” _Philosophy of Music Education Review 26, No. 2 (Fall, 2018):199–202. [REVIEW] Tan & Lu - 2019 - Philosophy of Music Education Review 27 (2):210.
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  20. In Loco Parentis and the Politically-Directed Music Curriculum. Perrine - 2019 - Philosophy of Music Education Review 27 (2):171.
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  21. The Diversity Bargain and the Discourse Dance of Equitable and Best. Richerme - 2019 - Philosophy of Music Education Review 27 (2):154.
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  22. Losing Self: The Application of Zhuangzian Wuwei_ and Balinese _Taksu to the Development of Musicianship. Wang - 2019 - Philosophy of Music Education Review 27 (2):133.
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  23. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty. New Essays in Aesthetics and the Philosophy of Art. München, Deutschland:
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
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  24. Atmosphere.Friedlind Riedel - 2019 - In Jan Slaby & ‎Christian von Scheve (eds.), Affective Societies: Key Concepts. New York: Routledge. pp. 85-95.
    This chapter traces the genealogy of the term atmosphere in the German language, identifies historical semantic shifts, and points to its grammatical specifics. The state of research on atmospheres is briefly summarized and an overview is offered of the various definitions of the term in different disciplines. Drawing on Timothy Morton’s theory of ambient poetics, and on Hermann Schmitz’s “new phenomenology,” four key characteristics of atmospheres are discussed and elaborated: their mereological constitution, their modal structure, their intensification at affective thresholds, (...)
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  25. Sad Songs Say So Much: The Paradoxical Pleasures of Sad Music.Laura Sizer - 2019 - Journal of Aesthetics and Art Criticism 77 (3):255-266.
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  26. The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types.Nemesio García‐Carril Puy - 2019 - Journal of Aesthetics and Art Criticism 77 (3):241-254.
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  27. Reprezentacja muzyczna a filozofia umysłu (Musical Representation and Philosophy of Mind).Tomasz Szubart - 2019 - Filozofia Nauki 27 (2):141-151.
    Representation is one of the key concepts in cognitive science and philosophy of mind. The philosophical problem of musical meaning, or rather its naturalistic reformulation, has only recently become the topic of empirical investigation. It might seem obvious that an explication of the concept of meaning would appeal to the concept of representation. It is not a popular approach in the philosophy of the cognitive science of music, however. The aim of this paper is to provide an overview of possible (...)
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  28. Music, the Arts and Everyday Life Experience.Slávka Kopčáková - 2019 - Espes 8 (2):55-58.
    Markus Cslovjecsek, Madeleine Zulauf : Integrated Music Education - Challenges of Teaching and Teacher Training. Bern, Berlin, Bruxelles, New York, Oxford, Warszawa, Wien: Peter Lang Publishers, 2018. 418 pp., 29 fig. b/w, 2 tables.
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  29. Imagination, Music, and the Emotions: A Philosophical Study. [REVIEW]Matteo Ravasio - 2019 - British Journal of Aesthetics 59 (2):230-233.
    Imagination, Music, and the Emotions: A Philosophical StudyTrivediSaamsuny. 2017. pp. 205. £57.
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  30. Some Problems in Musical Terminology.E. K. Borthwick - 1967 - Classical Quarterly 17 (1):145-157.
    In addition to the technical writers on music, a number of ancient authors, notably Plutarch and Athenaeus, have recorded several musical terms, either by way of illustrative material—Plutarch is particularly given to musical similes and metaphors—or in the course of anecdotes about music and musicians. As musical terminology in different ages contains words or phrases not only of general acceptance and familiarity, but other more ephemeral expressions which belong to the jargon of a narrower circle of executants and critics, it (...)
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  31. Attentional Engines: A Perceptual Theory of the Arts.William P. Seeley - 2020 - New York, NY, USA: Oxford University Press.
    What is it about art that can be so captivating? How is it that we find value in the often odd and abstract objects and events we call artworks? William P. Seeley proposes that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. In developing this view, Seeley argues that there is a lot we can learn about the value of art from interdisciplinary (...)
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  32. The Significance of Music with Reference to Plato and the Notion of “Pharmakon”.Adrian Mróz - 2017 - Dissertation,
    The problem of interpreting music’s function or role is scrutinized by grounding music’s significance through a selected reading of Platonic philosophy and a reinterpretation of the concept of “pharmakon” familiar to ancient Greeks, and in particular, the Athenians. Views on both mousike and the artistic practice of music in that era are taken into account. The “pharmakon” is analyzed through a concept of love as a harmonizing force and a variety of contexts are explicated, showing that it concerns any object (...)
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  33. The Axiology of Music: Systemic irrationality in judging the performance of music.Adrian Mróz - 2015 - Dissertation,
    This paper assumes that aesthetic judgements are irrational in nature. Judges and music experts often provide us with a description of their experiences as well as assessments, and thus set standards for beauty and skill. These assessments have an axionormative character. They can be evaluated by analyzing the statements made which describe the subjective and individual experiences that justify the judgment, or with the methods of heterophenomenology - proposed by Daniel Dennett - as well as through an analysis of cognitive (...)
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  34. Explanation and Reduction in the Cognitive Neuroscience Approach to the Musical Meaning Problem.Tomasz Szubart - 2019 - In Andrej Démuth (ed.), The Cognitive Aspects of Aesthetic Experience – Selected Problems. Berlin: Peter Lang. pp. 39-50.
    The aim of this paper is to refer basic philosophical approaches to the problem of musical meaning and, on the other hand, to describe some examples of the research on musical meaning found in the field of cognitive neuroscience. By looking at those two approaches together it can be seen that there is still no agreement on how musical meaning should be understood, often due to several methodological problems of which the most important seem to be the possibility of inter-theoretical (...)
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  35. Regarding Young Musicians as Ethical and Aesthetic Practitioners: A New Reading of Phronēsis. Bartels - 2019 - Philosophy of Music Education Review 27 (1):37.
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  36. Response to Graham McPhail, “Too Much Noise in the Classroom? Towards a Praxis of Conceptualization,” Philosophy of Music Education, 26, No. 2 : 176–98. [REVIEW] Freer - 2019 - Philosophy of Music Education Review 27 (1):87.
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  37. Philosophical Anthropology and the Human Body: The Contribution of Helmuth Plessner to a Music Education Beyond the Dualism. Raptis - 2019 - Philosophy of Music Education Review 27 (1):68.
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  38. Music and the Sin of Sloth: The Gendered Articulation of Worthy Musical Time in Early American Music. Shorner-Johnson - 2019 - Philosophy of Music Education Review 27 (1):51.
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  39. Michael L. Mark. Ward-Steinman - 2019 - Philosophy of Music Education Review 27 (1):92.
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  40. Community Music and the Risks of Affirmative Thinking: A Critical Insight Into the Semantics of Community Music. Krönig - 2019 - Philosophy of Music Education Review 27 (1):21.
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  41. Mapping the Mountain: An Open Model of Creativity for String Education. Sciaroni - 2019 - Philosophy of Music Education Review 27 (1):4.
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  42. A Critique of Susanne Langer’s View of Musical Temporality.Eran Guter & Inbal Guter - 2018 - Proceedings of the European Society for Aesthetics, Vol. 10.
    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 what we would call ‘a strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this paper we take issue with the ‘strong suspension thesis’ and its implications and ramifications regarding not (...)
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  43. Carlo Serra “Tiempo y escansión. Contribución sobre el significado rítmico de la duración entre Husserl y Bachelard” - Traducción de Facundo Bey.Facundo Bey - 2018 - Boletín de Estética 14 (45):42-76.
    English Title: Time and scansion: rythmical meaning of Duration between Husserl and Bachelard. -/- Abstract: Inside phenomenological search, present time and instant live inside a troubled dialectic: for Husserl present runs, widening out past and future, in the same moment, like the Heraclitean bowstring which stretches between two dimensions. Gaston Bachelard, on the contrary, is the thinker of Discreteness, where temporal continuum is linked to the reciprocal differentiating of instants in the duration. So, the conceptions of time inside these philosophers (...)
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  44. El papel de la música en la educación según la Política de Aristóteles.Kênio Estrela - 2018 - Fragmentos de Cultura 28 (n.4):465-471.
    Music is a multifaceted discipline. It has repercussions in the most diverse areas of knowledge. It appears strongly in the development of education and philosophy since antiquity. As a representation of this importance we can find in Book VIII of Aristotle’s Politics an important argumentation about the role of music in the education of young people and adults in the polis. This paper will present an interpretation of Aristotle’s perspective on the role of music in education. -/- .
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  45. Musical Understandings and Other Essays on the Philosophy of Music, by Stephen Davies: Oxford: Oxford University Press, 2011, Pp. 256, £40.00/Us$75.00. [REVIEW]Julian Dodd - 2013 - Australasian Journal of Philosophy 91 (3):625-625.
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  46. “A Small, Shabby Crystal, yet a Crystal”: A Life of Music in Wittgenstein’s Denkbewegungen.Eran Guter - 2019 - In B. Sieradzka-Baziur, I. Somavilla & C. Hamphries (eds.), Wittgenstein's Denkbewegungen. Diaries 1930-1932/1936-1937: Interdisciplinary Perspectives. Innsbruck, Austria: StudienVerlag. pp. 83-112.
    Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical acculturation, the perils (...)
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  47. Review of Joe Panzner (2015), The Process That Is the World: Cage/Deleuze/Events/Performances. [REVIEW]Iain Campbell - 2018 - Deleuze and Guatarri Studies 12 (3):444-453.
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  48. D'une graphie qui ne dit rien. Les ambiguïtés de la notation chorégraphique.Frédéric Pouillaude - 2004 - Poetique 1 (137):99-123.
  49. Eleanor V. Stubley.Roberta Lamb - 2018 - Philosophy of Music Education Review 26 (2):203.
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  50. Response to Leonard Tan and Mengchen Lu, “‘I Wish to Be Wordless’: Philosophizing Through the Chinese Guqin.”.Chiao-Wei Liu - 2018 - Philosophy of Music Education Review 26 (2):199.
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