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102 found
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1 — 50 / 102
  1. added 2019-03-20
    Why Foot-Tapping Is Important but Not Enough? Some Methodological Problems in the Embodied Approach to Musical Meaning.Tomasz Szubart - 2017 - Avant: Trends in Interdisciplinary Studies 8 (1):101-106.
    In this short paper I critically analyze Marc Leman’s embodied approach to musical meaning and representation, suggesting that its explanatory value is not sufficient in order to be a good alternative for theories encompassing the concept of representation.
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  2. added 2019-02-22
    On Evolutionary Explanations of Musical Expressiveness.Matteo Ravasio - 2018 - Evental Aesthetics 7 (1):6-29.
    In this paper, I will examine an evolutionary hypothesis about musical expressiveness first proposed by Peter Kivy. I will first present the hypothesis and explain why I take it to be different from ordinary evolutionary explanations of musical expressiveness. I will then argue that Kivy’s hypothesis is of crucial importance for most available resemblancebased accounts of musical expressiveness. For this reason, it is particularly important to assess its plausibility. After having reviewed the existing literature on the topic, I will list (...)
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  3. added 2019-01-02
    Experience and Consciousness: Enhancing the Notion of Musical Understanding.Adriana Renero - 2009 - Critica 41 (121):23-46.
    Disagreeing with Jerrold Levinson's claim that being conscious of broad-span musical form is not essential to understanding music, I will argue that our awareness of musical architecture is significant to achieve comprehension. I will show that the experiential model is not incompatible with the analytic model. My main goal is to show that these two models can be reconciled through the identification of a broader notion of understanding. After accomplishing this reconciliation by means of my new conception, I will close (...)
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  4. added 2018-12-16
    Historically Uninformed Views of Historically Informed Performance.Matteo Ravasio - forthcoming - Journal of Aesthetics and Art Criticism.
    This paper argues that contemporary analytic philosophy of music has characterized historically informed performance practice as compliance-focused, impersonal, and work-centered. The first part of the paper gathers evidence in support of this claim from the works of Julian Dodd, Peter Kivy, James O. Young, Aron Edidin, and Stephen Davies. In the second part of the paper, I reject this received view. Evidence from actual performance practice, as well as from the practitioners’ reflection on their activity, belies the received view outlined (...)
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  5. added 2018-10-15
    Music and Biology at the Naples Zoological Station.Bernardino Fantini - 2015 - History and Philosophy of the Life Sciences 36 (3):346-356.
    Anton Dohrn projected the Stazione Zoologica as composed of two complementary halves: nature and culture. This attitude was not only expression of the general cultural background of the nineteenth century cultural elite, for Dohrn both formed a coherent and organized whole. In my essay I will analyse the different levels of the relationship between music and biology. In particular, I will demonstrate that both share similar “styles of thought”. In the last part I will show that Dohrn’s most important scientific (...)
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  6. added 2018-08-04
    What 4’33’’ Also Is: A Response to Dodd.Matteo Ravasio - forthcoming - Australasian Journal of Philosophy:1-6.
    Julian Dodd persuasively argues that John Cage’s 4’33’’ should be characterised as (1) a silent piece, as opposed to a sonically replete piece, containing the environmental sounds that occur as it is performed; (2) a piece of performance art, but not a piece of music; (3) a work of conceptual art. While I agree with Dodd’s claims, I contend that he fails to account for two features of 4’33’’. I argue that a qualified description of Cage’s work as belonging to (...)
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  7. added 2018-06-21
    Philosophy of Music: Analytic Perspectives.Matteo Ravasio - 2018 - Internet Encyclopedia of Philosophy.
    Analytic Perspectives in the Philosophy of Music The philosophy of music attempts to answer questions concerning the nature and value of musical practices. Contemporary analytic philosophy has tackled these issues in its characteristically piecemeal approach, and has revived interest in questions about the ontological nature of musical works, the experience of musical expressiveness, the value … Continue reading Philosophy of Music: Analytic Perspectives →.
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  8. added 2018-06-20
    Reply to Yee.Matteo Ravasio - 2018 - American Society for Aesthetics Graduate E-Journal 10 (1).
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  9. added 2018-06-20
    On the Destruction of Musical Instruments.Matteo Ravasio - 2016 - Journal of Aesthetics and Culture 8.
    In this article, I aim to provide an account of the peculiar reasons that motivate our negative reaction whenever we see musical instruments being mistreated and destroyed. Stephen Davies has suggested that this happens because we seem to treat musical instruments as we treat human beings, at least in some relevant respects. I argue in favour of a different explanation, one that is based on the nature of music as an art form. The main idea behind my account is that (...)
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  10. added 2018-06-20
    Critique of Pure Music. [REVIEW]Matteo Ravasio - 2015 - American Society for Aesthetics Graduate E-Journal 7 (2).
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  11. added 2018-06-19
    Stephen Davies on the Issue of Literalism.Matteo Ravasio - 2017 - Debates in Aesthetics 13 (1).
    In this paper I discuss Stephen Davies’s defence of literalism about emotional descriptions of music. According to literalism, a piece of music literally possesses the expressive properties we attribute to it when we describe it as ‘sad’, ‘happy’, etc. Davies’s literalist strategy exploits the concept of polysemy: the meaning of emotion words in descriptions of expressive music is related to the meaning of those words when used in their primary psychological sense. The relation between the two meanings is identified by (...)
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  12. added 2018-06-12
    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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  13. added 2018-05-26
    Why Didn’T Kant Think Highly of Music?Emine Hande Tuna - forthcoming - In Violetta Waibel & Margit Ruffing (eds.), Natur und Freiheit: Akten des XII. Internationalen Kant-Kongresses 2015. Berlin, Germany: De Gruyter.
    In this paper, in answering the question why Kant didn’t think very highly of music, I argue that for Kant (i) music unlike other art forms, lends itself more easily to combination judgments involving judgments of sense, which increases the propensity to make aesthetic mistakes and is ill-suited as an activity for improving one’s taste; (ii) music expresses aesthetic ideas and presents rational ideas only by taking advantage of existing associations while other art forms do so by breaking with the (...)
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  14. added 2018-05-18
    The Social Construction of the Senario and the Septimal Heresy: Response to Duncan.Dudley Duncan - 1994 - Sociological Theory 12 (3):319-327.
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  15. added 2018-05-18
    Max Weber's Unlucky Number.Dudley Duncan - 1993 - Sociological Theory 11 (2):230-233.
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  16. added 2018-03-22
    Prelude to a Theory of Musical Representation.Brandon Polite - 2017 - Revista Música 17 (1):89-108.
    In this paper, I present the beginnings of a resemblance theory of representation. I start by surveying the contemporary philosophical debate surrounding musical representation and reveal that its main interlocutors share a conception of artistic representation as a mode of meaningful communication. I then show how conceiving of artistic representation in this way severely limits music’s possibilities as a medium for representation. Next, I propose an alternative conception of representation that, despite its widespread acceptance outside of the philosophy of art, (...)
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  17. added 2018-03-05
    Improvisation in the Arts.Aili Bresnahan - 2015 - Philosophy Compass 10 (9):573-582.
    This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation of the arts (...)
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  18. added 2017-12-17
    A Missa en si Menor de Johann Sebastian Bach: A Poética e o Trágico.Katia Regina Kato Justi - 2013 - Dissertation, University of Campinas, Brazil
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  19. added 2017-12-12
    Music as Affective Scaffolding.Joel Krueger - forthcoming - In David Clarke, Ruth Herbert & Eric Clarke (eds.), Music and Consciousness II. Oxford: Oxford University Press.
    For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. I argue that music is a beyond-the-head resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. I focus on music’s capacity to scaffold emotional consciousness, including the self-regulative processes constitutive of emotional (...)
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  20. added 2017-11-12
    Nietzsches Musikästhetik der Affekte.Manos Perrakis - 2011 - Freiburg, Germany: Karl Alber Verlag.
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  21. added 2017-11-08
    Beating the Air. Phenomenological Remarks on the Semiotics of Conducting.Carl Erik Kühl - 2003 - Acta Semiotica Fennica 15:183-196.
  22. added 2017-09-30
    STUMPF, C. -Beiträge Zur Akustik Und Musikwissenschaft. [REVIEW]H. J. W. H. J. W. - 1925 - Mind 34:120.
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  23. added 2017-09-30
    STUMPF, DR. C. -Beiträge Zur Akustik Und Musikswissenschaft. [REVIEW]C. S. Myers - 1911 - Mind 20:284.
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  24. added 2017-09-30
    C. Stumpf, Beiträge Zur Akustik Und Musikwissenschaft.C. S. Myers - 1902 - Mind 11:393.
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  25. added 2017-09-30
    C. Stumpf, Beiträge Zur Akustik Und Musikwissenschaft.L. T. Stevens - 1886 - Mind 11:393.
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  26. added 2017-09-30
    Tonpsychologie.Stumpf Carl - 1884 - Mind 9 (36):593-602.
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  27. added 2017-06-15
    Non solum peritos in ea glorificare. Apretado compendio histórico-cultural del papel jugado por las disciplinas musicales en la educación occidental, y propuesta hermenéutico-filosófica, con tintes gadamerianos, de cierta labor que les cabría ejercer en nuestro porvenir.Miguel Angel Quintana Paz - 2005 - In Teresa Oñate Zubía, Cristina García Santos & Miguel Angel Quintana Paz (eds.), Hans-Georg Gadamer: Ontología estética y hermenéutica. Madrid: Dykinson. pp. 613-677.
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  28. added 2017-06-01
    Leonard Cohen and Philosophy: Various Positions Ed. By Jason Holt (Review). [REVIEW]Luke Stromberg - 2016 - The Hopkins Review 9 (2):292-300.
  29. added 2017-05-09
    The Aesthetics of Electronic Dance Music, Part I: History, Genre, Scenes, Identity, Blackness.Nick Wiltsher - 2016 - Philosophy Compass 11 (8):415-425.
    Electronic dance music has much about it to interest philosophers. In this article, I explore facets of dance music cultures, using the issue of authenticity as a framing question. The problem of sorting real or authentic dance music from mainstream or commercial clubbing can be treated as a matter of history and genre-definition; as a matter of defining scenes or subcultures; and as a matter of blackness. In each case, electronic dance music, and critical discourse surrounding it, offers fresh illumination (...)
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  30. added 2017-04-20
    Wittgenstein, Modern Music, and the Myth of Progress.Eran Guter - 2017 - In Ilkka Niiniluoto & Thomas Wallgren (eds.), On the Human Condition – Essays in Honour of Georg Henrik von Wright’s Centennial Anniversary, Acta Philosophica Fennica vol. 93. Helsinki: Societas Philosophica Fennica. pp. 181-199.
    Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...)
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  31. added 2017-02-13
    Wittgenstein and Haydn on Understanding Music.Yael Kaduri - 2006 - Contemporary Aesthetics 4.
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  32. added 2017-02-09
    On the Divide: Analytic and Continental Philosophy of Music.Tiger Roholt - 2017 - Journal of Aesthetics and Art Criticism 75 (1):49-58.
    On offer here is a tradition-neutral way of understanding the distinction between analytic and continental philosophy of music. The distinction is drawn in terms of methodology, rather than content, by identifying contrasting methodological tendencies of each tradition—initial maneuvers that frame an investigation, which are related to one another insofar as they involve, or do not involve, two kinds of methodological detachment. These maneuvers are extracted through a consideration of contrasting pairs of examples. The pairs consist of an analytic and a (...)
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  33. added 2017-02-09
    Playin(G) Iterability and Iteratin(G) Play : Tradition and Innovation in Jazz Standards.Francesco Paradiso - 2017 - Epistrophy 2.
    This study draws a comparative framework between deconstructive reading of texts and jazz standards. It will be argued that both are defined by the constant play of tradition and innovation. On the one hand, the repetition of a set of rules and dominant understanding of texts/tunes that generates tradition. On the other hand, invention and improvisation that take on that tradition and generate innovation. The act of reading/playing becomes also an act of invention/improvisation that manifests a constant tension between the (...)
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  34. added 2017-01-20
    Leonard Cohen and Philosophy: Various Positions.Jason Holt (ed.) - 2014 - Open Court.
  35. added 2016-09-17
    Wittgenstein on Musical Depth and Our Knowledge of Humankind.Eran Guter - 2017 - In Garry L. Hagberg (ed.), Wittgenstein on Aesthetic Understanding. Palgrave-Macmillan. pp. 217-247.
    Wittgenstein’s later remarks on music, those written after his return to Cambridge in 1929 in increasing intensity, frequency, and elaboration, occupy a unique place in the annals of the philosophy of music, which is rarely acknowledged or discussed in the scholarly literature. These remarks reflect and emulate the spirit and subject matter of Romantic thinking about music, but also respond to it critically, while at the same time they interweave into Wittgenstein’s forward thinking about the philosophic entanglements of language and (...)
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  36. added 2016-09-16
    The Routledge Companion to Philosophy and Music.Theodore Gracyk & Andrew Kania (eds.) - 2011 - Routledge.
    _The Routledge Companion to Philosophy and Music_ is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of music music, philosophy and related disciplines _The Routledge Companion to Philosophy and Music_ is essential reading for anyone interested in philosophy, music and musicology.
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  37. added 2016-09-01
    Review of The Soul of the World. [REVIEW]Subhasis Chattopadhyay - 2016 - Prabuddha Bharata or Awakened India 121 (September):672-3.
    Roger Scruton is dismissed by those who do not care to study him as a conservative philosopher. This review shows how Scruton is in fact more a theologian than a philosopher. This review is contrarian in tone to the reviews of Scruton to be found online and restores him as the rightful heir to theologians like Barth, Bultmann etc.
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  38. added 2016-08-29
    The Dionysian Vision of the World.Ira J. Allen (ed.) - 2013 - Univocal Publishing.
    Before the world knew of the thinker who “philosophizes with a hammer,” there was a young, passionate thinker who was captivated by the two forces found within Greek art: Dionysus and Apollo. In this essay, which was the forerunner to his groundbreaking book _The Birth of Tragedy, The Dionysian Vision of the World_ provides an unparalleled look into the philosophical mind of one of Europe’s greatest and provocative intellects at the beginning of his philosophical interrogation on the subject of art. (...)
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  39. added 2016-08-14
    Wittgenstein Reimagines Musical Depth.Eran Guter - 2016 - In Stefan Majetschak Anja Weiberg (ed.), Aesthetics Today: Contemporary Approaches to the Aesthetics of Nature and of Art, Contributions to the 39th International Wittgenstein Symposium (Kirchberg am Wechsel: ALWS, 2016). pp. 87-89.
    I explore and outline Wittgenstein's original response to the Romantic discourse concerning musical depth, from his middle-period on. Schopenhauer and Spengler served as immediate sources for Wittgenstein's reliance on Romantic metaphors of depth concerning music. The onset for his philosophic intervention in the discourse was his critique of Schenker's view of music and his general shift toward the 'anthropological view', which occurred at the same time. In his post-PI period Wittgenstein was able to reimagine musical depth in terms of vertically (...)
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  40. added 2016-07-07
    Mozart and the Nightingale (Review of Roger Scruton's An Intelligent Person's Guide to Philosophy). [REVIEW]Ray Scott Percival - 1998 - New Scientist (2122 ).
    ROGER SCRUTON’s An Intelligent Person’s Guide to Philosophy takes a personal and provocative look at the subject—those abstract, but nevertheless practical, problems that concern anyone who has reflected on his or her life. Of special delight is his discussion of sex and music. I make some brief critical comments on this based on new economic approaches.
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  41. added 2016-07-02
    Deve a Interpretação Musical Ser Eticamente Condicionada?António Lopes - manuscript
    The paper addresses the issue of ethical obligations in the performance of musical works in the Western classical tradition, arguing that there are indeed such obligations, although they are not categorical. -/- PT: Na tradição clássica ocidental, as obras de arte musicais, teatrais e, até certo ponto, as coreografias, são criadas por artistas-autores, mas necessitam de ser executadas por intérpretes (instrumentistas, cantores e maestros, actores e encenadores, bailarinos, etc.). Estes são assim chamados porque existe sempre uma dose de descricionariedade, não (...)
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  42. added 2016-07-02
    Relativismo na Avaliação de Execuções Musicais.António Lopes - 2006 - Philosophica 27:121-134.
    This is the first of a series of papers in which I present a defense of moderate objectivism about the evaluation of performances of musical works in the Western classical tradition.
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  43. added 2016-07-02
    Musical Works and Performance Evaluation.António Lopes - 2005 - Postgraduate Journal of Aesthetics 2 (2):76-86.
    This paper addresses the following problem: to what extent do ontological considerations about musical works affect our evaluation of performances of those works? I argue for the claim that at least some important grounds on which performances are evaluated are specific to them, in that these grounds are either independent from, or related but not fully determined by, the properties of the works they are of. In the first part of the paper, I explore the relations between good-making features of (...)
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  44. added 2016-06-17
    Behind Zarathustra's Eyes: The Bad, Sad Man Meets Nietzsche's Prophet.M. Blake Wilson - 2016 - In Rocco Gennaro & Casey Harison (eds.), The Who and Philosophy. Lexington Books.
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  45. added 2016-04-15
    Relativism, Cultural.Dustin Garlitz - 2014 - In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications.
  46. added 2016-04-15
    Consumerism.Eldonna L. May & Dustin Garlitz - 2014 - In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications.
  47. added 2016-04-15
    Music Culture.Eldonna L. May & Dustin Garlitz - 2014 - In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications.
  48. added 2016-04-15
    Hegemony.Eldonna L. May & Dustin Garlitz - 2014 - In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications.
  49. added 2016-04-15
    Oral Tradition.Dustin Garlitz - 2014 - In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications.
  50. added 2016-04-15
    Interpretation.Eldonna L. May & Dustin Garlitz - 2014 - In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications.
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1 — 50 / 102