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  1. The Philosophy of Rhythm: Aesthetics, Music, Poetics.Matteo Ravasio - 2021 - British Journal of Aesthetics 61 (2):262-269.
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  2. Aesthetic Appreciation of Silence.Erik Anderson - 2020 - Contemporary Aesthetics 18.
    We enjoy sounds. What about silence: the absence of sound? Certainly not all, but surely many of us seek out, attend to, and appreciate silence. But, if nothing is there, then there is nothing to possess aesthetic qualities that might engage aesthetic interest or reward aesthetic attention. This is at least puzzling, perhaps even paradoxical. In this paper, I attempt to dispel the sense of paradox and provide a way to understand aesthetic appreciation of silence. I argue that silence can (...)
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  3. The Aesthetics of Country Music.John Dyck - forthcoming - Philosophy Compass:e12729.
    Country music has not gotten much attention in philosophy. I introduce two philosophical issues that country music raises. First, country music is simple. Some people might think that its simplicity makes country music worse; I argue that simplicity is aesthetically valuable. The second issue is country music’s ideal of authenticity; fans and performers think that country should be real or genuine in a particular way. But country music scholars have debunked the idea that country authenticity gets at anything real; widespread (...)
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  4. Blurred Lines: Ravasio on “Historically Informed Performance”.Julian Dodd - 2020 - Wiley: The Journal of Aesthetics and Art Criticism 78 (1):85-90.
    The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 85-90, Winter 2020.
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  5. Historically Informed Performance: A Reply to Dodd.Matteo Ravasio - 2020 - Wiley: The Journal of Aesthetics and Art Criticism 78 (1).
    The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 90-94, Winter 2020.
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  6. The Semiotic Foundation of Ingarden’s Analysis of Music.Hélène Leblanc - 2020 - In N. A. Michna D. Czakon (ed.), Roman Ingarden and His Times. Varsovie, Pologne: pp. 173-190.
    Based on chapter 3 “The musical Work and its score” of Roman Ingarden’s The Work of Music and the Problem of its Identity, this paper examines the semiotic theory from which the Polish philosopher develops his analysis of music.
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  7. Culturally Sustaining Music Education and Epistemic Travel.Emily Good-Perkins - 2021 - Philosophy of Music Education Review 29 (1):47.
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  8. Six Fallacies Regarding the Question of Whether We Conceive of Practices as “Musical”.Franz Kasper Krönig - 2021 - Philosophy of Music Education Review 29 (1):102.
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  9. On the Usefulness of Nothingness: A Daoist-Inspired Philosophy of Music Education.Mengchen Lu & Leonard Tan - 2021 - Philosophy of Music Education Review 29 (1):88.
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  10. “Putting a Face on It”: The Trouble with Storytelling for Social Justice in Music Education.Juliet Hess - 2021 - Philosophy of Music Education Review 29 (1):67.
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  11. Language, Music, and Revitalizing Indigeneity: Effecting Cultural Restoration and Ecological Balance Via Music Education.Anita Prest & J. Scott Goble - 2021 - Philosophy of Music Education Review 29 (1):24.
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  12. Go Ask Alice: How is a Raven Like a Band Director?Mya Katherine Magnusson Scarlato - 2021 - Philosophy of Music Education Review 29 (1):4.
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  13. Meaning and Scepticism.Paul Boghossian - 2020 - In Tomás McAuley, Nanette Nielsen, Jerrold Levinson & Ariana Phillips-Hutton (eds.), The Oxford Handbook of Western Music and Philosophy. OUP. pp. 785-804.
    This chapter revisits the classic questions whether absolute music can express extra-musical meaning and whether such meaning should be thought of as playing an important role in our understanding and appreciation of music. It argues that music’s expressive ability plays a central role in our conception of its phenomenology and value—in our perception of music as expressive and in its capacity to move us, both in the understudied generic sense, and in the sense of arousing specific emotions in us. It (...)
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  14. Crossmodal Aesthetics: How Music and Dance Can Match.Solveig Aasen - 2021 - Philosophical Quarterly 71 (2):223-240.
    The relationship between music and dance can sometimes be a ‘match’, a remarkable fit between the audible manifestation that music is and the visual or kinaesthetic manifestation that dance is. A match between two things seems to require a common measure with respect to which the match obtains. What can this be for two so different phenomena as music and dance? I argue that the most promising answer is: movement. This answer will not be satisfactory unless the movement of music (...)
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  15. Boosting Autobiographical Memory and the Sense of Identity of Alzheimer Patients Through Repeated Reminiscence Workshops?Hervé Platel, Marie-Loup Eustache, Renaud Coppalle, Armelle Viard, Francis Eustache, Mathilde Groussard & Béatrice Desgranges - 2021 - Frontiers in Psychology 12.
    Despite severe amnesia, some studies showed that Alzheimer Disease patients with moderate to severe dementia keep a consistent, but impoverished representation of themselves, showing preservation of the sense of identity even at severe stages of the illness. Some studies suggest that listening to music can facilitate the reminiscence of autobiographical memories and that stimulating autobiographical memory would be relevant to support the self of these patients. Consequently, we hypothesized that repeated participation to reminiscence workshops, using excerpts of familiar songs as (...)
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  16. Empathie in der Kunst.Íngrid Vendrell-Ferran - forthcoming - In Siegmund Judith (ed.), Handbuch Kunstphilosophie.
    Dieses Kapitel handelt von der Empathie in der Kunst. Ich beginne mit einer Reflexion über die Ursprünge des Begriffes und seine Verwendung in der Ästhetik. Es folgt eine Analyse der Empathie im Vergleich zu anderen Formen der Anteilnahme an Kunstwerken. Im dritten Teil untersuche ich die Mechanismen der Empathie in der Kunst und die Funktion der Imagination. Der vierte Teil widmet sich der Bedeutung der Gefühle bei der Empathie für Kunstfiguren. Schließlich thematisiere ich den epistemischen, moralischen und ästhetischen Wert der (...)
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  17. Sound’s Matter: ‘Deleuzian Sound Studies’ and the Problems of Sonic Materialism.Iain Campbell - 2020 - Contemporary Music Review 39 (5):618-637.
    This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...)
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  18. Una nota sulla pragmatica musicale.Salvatore Pistoia-Reda - 2020 - de Musica 1 (24):173-178.
    In questa nota si fornisce un esempio preliminare di analisi pragmatica delle strutture musicali. Nell’analisi, la stipulazione di una pragmatica musicale segue strettamente recenti proposte presentate in ambito semantico, in cui si illustrano le potenziali virtù rappresentazionali delle strutture musicali. In particolare, in questa nota si suggerisce la presenza di strategie di ricostruzione dei significati musicali le quali intervengono a prevenire la realizzazione di contenuti semantici contraddittori. L’evidenza utilizzata è ricavata da alcune misure del madrigale primo del II libro dei (...)
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  19. Jazz as Critique: Adorno and Black Expression Revisited.James B. Haile - forthcoming - Journal of Aesthetics and Art Criticism.
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  20. Historically Uninformed Views of Historically Informed Performance.Matteo Ravasio - 2019 - Journal of Aesthetics and Art Criticism 77 (2):193-205.
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  21. “Things Begin to Speak by Themselves”: Pierre Schaeffer’s Myth of the Seashell and the Epistemology of Sound.Iain Campbell - 2021 - Sound Studies 7 (1):100-118.
    This paper considers the role of myth and phenomenology in Pierre Schaeffer’s research into music and sound, and argues that engagement with these themes allows us to rethink the legacy and contemporary value of Schaeffer’s thought in sound studies. In light of critique of Schaeffer’s project, in particular that developed by Brian Kane and Schaeffer’s own apparent self-disavowal, this paper returns to Schaeffer’s early remarks on the “myth of the seashell” in order to examine the conditions of this critique. While (...)
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  22. “Kim Had the Same Idea as Haydn”: International Perspectives on Classical Music and Music Education. Kertz-Welzel - 2020 - Philosophy of Music Education Review 28 (2):239.
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  23. Mahler Is a DJ: Reconducting Classical Music Education. Koopal, Vlieghe & de Baets - 2020 - Philosophy of Music Education Review 28 (2):220.
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  24. Incarnating the Shiver-Shimmer Factor: Toward a Dialogical Sublime. Bogdan - 2020 - Philosophy of Music Education Review 28 (2):145.
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  25. “We Must Learn to Love”: Some Reflections on the Kinship of Philosophical Thinking and Classical Music From an Educational Perspective. Holm - 2020 - Philosophy of Music Education Review 28 (2):186.
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  26. To Love or Not to Love (Western Classical Music): That is the Question. Jorgensen - 2020 - Philosophy of Music Education Review 28 (2):128.
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  27. Focusing on Slowness and Resistance: A Contribution to Sustainable Development in Music Education. Varkøy & Rinholm - 2020 - Philosophy of Music Education Review 28 (2):168.
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  28. Talking Bach in an Age of Social Justice. Whale - 2020 - Philosophy of Music Education Review 28 (2):199.
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  29. Listening to Other Minds: A Phenomenology of Pop Songs.Enrico Terrone - 2020 - British Journal of Aesthetics 60 (4):435-453.
    This paper explores some phenomenological consequences of the ontological affinity between films and pop songs. Given the central place of the recording technology in both films and pop songs, one can wonder whether pop songs can elicit from their listeners the same kind of experience that films elicit from their spectators. In other words, one can wonder whether pop songs encourage us to play a ‘game of make-believe’ analogous to that we play when we engage with films. The main part (...)
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  30. Words Fail Me. (Stanley Cavell's Life Out of Music).William Day - 2020 - In David LaRocca (ed.), Inheriting Stanley Cavell: Memories, Dreams, Reflections. New York: Bloomsbury. pp. 187-97.
    Stanley Cavell isn't the first to arrive at philosophy through a life with music. Nor is he the first whose philosophical practice bears the marks of that life. Much of Cavell's life with music is confirmed for the world in his philosophical autobiography Little Did I Know. A central moment in that book is Cavell's describing the realization that he was to leave his musical career behind – for what exactly, he did not yet know. He connects the memory-shock of (...)
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  31. The Aesthetics of Imperfection Reconceived: Improvisations, Compositions, and Mistakes.Andy Hamilton - 2020 - Journal of Aesthetics and Art Criticism 78 (3):289-302.
    ABSTRACT Ted Gioia associated the “aesthetics of imperfection” with improvised music. In an earlier article, I extended it to all musical performance. This article reconceives my discussion, offering more precise analyses: The aesthetics of imperfection is now argued to involve open, spontaneous response to contingencies of performance or production, reacting positively to idiosyncratic instruments; apparent failings in performance, and so on. Perfectionists, in contrast, prefer a planning model, not readily modified in face of contingencies. Imperfection is not toleration of errors (...)
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  32. The Assumptions Behind Musical Stage Theory: A Reply to Letts.Caterina Moruzzi - 2020 - Journal of Aesthetics and Art Criticism 78 (3):362-366.
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  33. Is Moruzzi's Musical Stage Theory Advantaged?Philip Letts - 2020 - Journal of Aesthetics and Art Criticism 78 (3):357-362.
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  34. Contemporary Aesthetics. A Topographic Attempt.Lisa Giombini & Adrián Kvokačka - 2019 - Espes. The Slovak Journal of Aesthetics 9 (2):3-9.
    In this short paper, I examine the notion of everyday heritage as developed by Lisa Giombini in her article Everyday Heritage and Place-Making. While I argue that the article’s main contribution is to combine the literature on place-making with current debates in everyday aesthetics, I also highlight some of the issues that I think should be addressed to further refine the notion of ‘everyday heritage’ and make it more resistant to criticism.
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  35. Composers and Performers.Junyeol Kim - 2020 - Philosophia 48 (4):1469-1481.
    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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  36. 'Music Transfigures Time': A Case for Phenomenological Temporality in Musical Spectralism.Ben Mc Hugh - unknown
    Composers’ manipulation of temporality vis-à-vis the unfolding of musical time is central to the discipline and indeed the history of music is replete with differing methods and approaches to the potentials inherent in the manipulation of listeners' attention and expectation. In this essay I will address one such movement or approach entitled ‘spectralism’, which is based on analysis into the perception of sound itself as a means to create music and which espouses research into the spectral information contained in sounds (...)
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  37. 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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  38. 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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  39. 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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  40. 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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  41. 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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  42. 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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  43. 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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  44. 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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  45. 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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  46. 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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  47. 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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  48. On Music, Sense, Affect and Voice by Carol Harrison , Iii + 172 Pp.Jeremy Begbie - forthcoming - Modern Theology.
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  49. 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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  50. Charter Schools and Musical Choice. Hedgecoth - 2019 - Philosophy of Music Education Review 27 (2):192.
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