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  1. Music and the Ineffable.Carolyn Abbate (ed.) - 2003
    Vladimir Jankélévitch left behind a remarkable œuvre steeped as much in philosophy as in music. His writings on moral quandaries reflect a lifelong devotion to music and performance, and, as a counterpoint, he wrote on music aesthetics and on modernist composers such as Fauré, Debussy, and Ravel. Music and the Ineffable brings together these two threads, the philosophical and the musical, as an extraordinary quintessence of his thought. Jankélévitch deals with classical issues in the philosophy of music, including metaphysics and (...)
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  2. Musica E Filosofia.F. Abbri & Elio Matassi - 2000
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  3. Filosofskaia Sushchnost Muzykal Nogo Iskusstva.Giul naz Abdullazade - 1985 - Ishyg.
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  4. Chord Symbols, Musical Abstraction and Modernism.Mark Abel - unknown
    This article traces the emergence of the chord symbol in twentieth century musical notation, and discusses its significance both for musical aesthetics and for the development of new musical practices. Using Adorno as a reference point, Abel argues that despite being a product of a reified and conservative conception of musical language, the abstraction involved in the chord symbol has provided the basis for radically new forms of music-making which indicate ways in which the individualistic and hierarchical priorities of the (...)
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  5. Groove: An Aesthetic of Measured Time.Mark Abel - unknown
    What is the relationship between music and time? How does musical rhythm express our social experience of time? InGroove: An Aesthetic of Measured Time, Mark Abel explains the rise to prominence in Western music of a new way of organising rhythm: groove. He provides a historical account of its emergence around the turn of the twentieth century, and analyses the musical components which make it work.Tracing the influence of key philosophical arguments about the nature of time on musical aesthetics, Mark (...)
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  6. The Pulse of the Earth and Sonification.Lorella Abenavoli - 2012 - AI and Society 27 (2):277-279.
    Le Souffle de la Terre/The Pulse of the Earth is an on-going sound work (1996–20–) by the artist L. Abenavoli. She outlines the sonification methods employed in the making of the work in an analysis of its technical and conceptual features. The work is described in terms of her artistic objectives.
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  7. Music Education That Resonates: An Epistemology and Pedagogy of Sound.Joseph Abramo - 2014 - Philosophy of Music Education Review 22 (1):78-95.
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  8. Le Temps Musical.Christian Accaoui - 2001
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  9. Thinking Musically, And: Teaching Music Globally (Review).James Ackman - 2007 - Philosophy of Music Education Review 15 (1):81-87.
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  10. Bonnie C. Wade, Thinking Musically (Oxford University Press: New York, 2004) and Patricia Shehan Campbell, Teaching Music Globally (Oxford University Press: New York, 2004). [REVIEW]James Ackman - 2007 - Philosophy of Music Education Review 15 (1):81-90.
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  11. Cut 'N' Mix: Culture, Identity and Caribbean Music.Charles Acland & Dick Hebdige - 1989 - Substance 18 (1):96.
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  12. Visual Music: Synaesthesia in Art and Music Since 1900 Edited by Brougher, Kerry, Olivia Mattis, Jeremy Strick, Ari Wiseman and Judith Zilczer.Thomas Adajian - 2006 - Journal of Aesthetics and Art Criticism 64 (4):488–489.
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  13. Neo-Mythologism in Twentieth-Century Music.Victoria Adamenko - 2000 - Dissertation, Rutgers the State University of New Jersey - New Brunswick
    This dissertation examines the ways in which mythological thought, with all its specific characteristics, reveals itself in twentieth-century artistic consciousness. According to modern scholarship, a mythological component has always been present in culture, whether archaic or modern. The mythological features of many twentieth-century compositions are often obvious and are commonly mentioned in various sources, from program notes to scholarly works. There has not been yet, however, any research that focuses specifically on this century's music and its unique correlations with mythology. (...)
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  14. Esthetic of Music and the Rational Ideal.John Stokes Adams Jr - 1942 - In Francis P. Clarke & Milton Charles Nahm (eds.), Philosophical Essays in Honor of Edgar Arthur Singer, Jr. London: Oxford University PRess.
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  15. Ngegnieros on La Psychophysiologie du Language Musical. [REVIEW]Elizabeth Kemper Adams - 1906 - Journal of Philosophy 3 (16):444.
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  16. Beethoven: The Philosophy of Music.Theodor W. Adorno, Rolf Tiedemann & Edmund Jephcott - 2003 - Journal of Aesthetics and Art Criticism 61 (1):90-91.
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  17. Christianity and Traditional Music: The Need for Reconciliation of Separated Compartibles.So Afolabi - 2001 - In Gbola Aderibigbe & Deji Ayegboyin (eds.), Religion and Social Ethics. National Association for the Study of Religions and Education (Nasred). pp. 82.
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  18. Music Analysis Versus Musical Hermeneutics.Kofi Agawu - 1996 - American Journal of Semiotics 13 (1/4):9-24.
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  19. Ambiguity in Tonal Music. A Preliminary Study.Kofi Agawu - 1994 - In Anthony Pople (ed.), Theory, Analysis and Meaning in Music. Cambridge University Press. pp. 86--107.
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  20. Polemics on the "Musica Moderna" Agostino Agazzari, la Musica Ecclesiastica ; Marco Scacchi, Breve Discorso Sopra la Musica Moderna.Agostino Agazzari & Marco Scacchi - 1993
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  21. Enlightenment Orpheus: The Power of Music in Other Worlds.Vanessa Agnew - 2008 - Oup Usa.
    The Enlightenment saw a critical engagement with the ancient idea that music carries certain powers - it heals and pacifies, civilizes and educates. Yet this interest in musical utility seems to conflict with larger notions of aesthetic autonomy that emerged at the same time. In Enlightenment Orpheus, Vanessa Agnew examines this apparent conflict, and provocatively questions the notion of an aesthetic-philosophical break between the eighteenth and nineteenth centuries.
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  22. The Primacy of Music in Igbo Traditional Religion.D. C. C. Agu - 1990 - In Emma Ekpunobi & Ifeanyi Ezeaku (eds.), Socio-Philosophical Perspective of African Traditional Religion. New Age Publishers.
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  23. The Ananalogy Between Ornament and Music.Lars-Olof Åhlberg - 1994 - Nordic Journal of Aesthetics 7 (12).
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  24. Wittgenstein and the Conditions of Musical Communication.Hanne Ahonen - 2005 - Philosophy 80 (4):513-529.
    If Wittgenstein's later account of language is applied to music, what seems to follow is a version of musical formalism. This is to say that the meaning of music is constituted by the rules of a given system of music, and the understanding of music is the ability to follow these rules. I argue that, while this view may seem unattractive at the outset, Wittgenstein actually held this view. Moreover, his later notion of a rule gives us resources to answer (...)
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  25. Can Listening to Music Be Experimentally Studied.Rita Aiello - 1994 - In Rita Aiello & John A. Sloboda (eds.), Musical Perceptions. Oxford University Press. pp. 273--282.
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  26. Music and Language: Parallels and Contrasts.Rita Aiello - 1994 - In Rita Aiello & John A. Sloboda (eds.), Musical Perceptions. Oxford University Press. pp. 40--63.
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  27. The Piece as a Whole Studies in Holistic Musical Analysis.Hugh Aitken - 1997
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  28. Tracts on Listening to Music Being Dhamm Al-Malahi.Abd Allah Ibn Muhammad Ibn Abi Al-Dunya, Al-Ghazzali Ahmad Ibn Muhammad & James Robson - 1938 - The Royal Asiatic Society.
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  29. La Visite au Musicien. Alain - 1927 - Nouvelle Revue Française.
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  30. Modernism and Music an Anthology of Sources.Daniel Albright - 2004
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  31. Ritual Harmony: Toward an Evolutionary Theory of Music.Candace S. Alcorta, Richard Sosis & Daniel Finkel - 2008 - Behavioral and Brain Sciences 31 (5):576-577.
    Juslin & Vll (J&V) advance our understanding of the proximate mechanisms underlying emotional responses to music, but fail to integrate their findings into a comprehensive evolutionary model that addresses the adaptive functions of these responses. Here we offer such a model by examining the ontogenetic relationship between music, ritual, and symbolic abstraction and their role in facilitating social coordination and cooperation.
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  32. Learning Music: Embodied Experience in the Life-World.Eva Alerby & Cecilia Ferm - 2005 - Philosophy of Music Education Review 13 (2):177-185.
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  33. Britan's The Philosophy of Music: A Comparative Investigation Into the Principles of Musical Esthetics. [REVIEW]H. B. Alexander - 1912 - Journal of Philosophy 9 (11):305.
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  34. Musical Understanding: Theory of Musical Description or Theory of Musical Perception?Russell Thomas Alfonso - 1996 - Dissertation, University of Hawai'i
    The prevalent view today concerning musical understanding is that a necessary condition of musical understanding is the verbal ability to describe music. In the first two chapters I critically examine two kinds of theory of musical description: in chapter one, I consider the positions of Peter Kivy and Roger Scruton, which represent the view that verbal descriptions are essential to musical understanding; in chapter two, I consider the positions of Peter Kivy, Jenifer Robinson, Harold Fiske, and Nelson Goodman, which represent (...)
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  35. The Music Teaching Artist's Bible: Becoming a Virtuoso Educator (Review).David Allen - 2011 - Journal of Aesthetic Education 45 (3):118-120.
    Eric Booth has completed the curriculum for today’s classical music performers in The Music Teaching Artist’s Bible: Becoming a Virtuoso Educator (2009). This book could handily serve as the text for a class designed to help music performance majors learn about the items that are usually ignored within today’s skill-based music performance degrees offered in most American universities and conservatories. Booth makes the case that many classically trained performing musicians unknowingly do more harm than good for their audiences and careers. (...)
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  36. Philosophies of Music History.Warren Dwight Allen - 1941 - Journal of Aesthetics and Art Criticism 1 (2):126-127.
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  37. Der Kampf des Hundes MIT Dem Jaguar Bandas de P'ifanos in Nordostbrasilien : Ein Beitrag Zur Musikèasthetik.Regine Allgayer-Kaufmann - 1996
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  38. Background to the Task Supplement to on the Other Side, the Report of the Evangelical Alliance Commission on Evangelism.Evangelical Alliance - 1968 - Scripture Union.
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  39. Activating Self-Transformation Through Improvisation in Instrumental Music Teaching.Randall Everett Allsup - forthcoming - Philosophy of Music Education Review 5 (2).
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  40. Music Education as Liberatory Practice: Exploring the Ideas of Milan Kundera.Randall Everett Allsup - forthcoming - Philosophy of Music Education Review 9 (2):3-10.
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  41. Music Teacher Quality and the Problem of Routine Expertise.Randall Everett Allsup - 2015 - Philosophy of Music Education Review 23 (1):5.
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  42. Sequoias, Mavericks, Open Doors… Composing Joan Tower.Randall Everett Allsup - 2011 - Philosophy of Music Education Review 19 (1):24-36.
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  43. Hard Times: Philosophy and the Fundamentalist Imagination.Randall Everett Allsup - 2005 - Philosophy of Music Education Review 13 (2):139-142.
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  44. In Dialogue: A Response to Estelle R. Jorgensen,?Four Philosophical Models of the Relationship Between Theory and Practice?Randall Everett Allsup - 2005 - Philosophy of Music Education Review 13 (1):104-108.
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  45. Praxis and the Possible: Thoughts on the Writings of Maxine Greene and Paulo Freire.Randall Everett Allsup - 2003 - Philosophy of Music Education Review 11 (2):157-169.
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  46. A Reappraisal of Bennett Reimer and His Meanings of Art. Allsup & Lewis - 2015 - Philosophy of Music Education Review 23 (2):168.
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  47. Eduard Hanslick: Do belo musical.Aires Almeida - forthcoming - Critica.
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  48. Musical “Temperament”: Theorists and the Functions of Musical Analysis.Byron Almén - 2005 - Theoria 12:46.
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  49. On Kivy's Philosophy of Music: Instrumental Music and Instrumental Value.P. Alperson - 1993 - Journal of Aesthetic Education 27:1-1.
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  50. Instrumental Music and Instrumental Value.Philip Alperson - forthcoming - Journal of Aesthetic Education.
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