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  1. added 2019-02-11
    Signs of Morality in David Bowie's "Black Star" Video Clip.May Kokkidou & Elvina Paschali - 2017 - Philosophy Study 7 (12).
    “Black Star” music video was released two days before Bowie’s death. It bears various implications of dying and the notion of mortality is both literal and metaphorical. It is highly autobiographical and serves as a theatrical stage for Bowie to act both as a music performer and as a self-conscious human being. In this paper, we discuss the signs of mortality in Bowie’s “Black Star” music video-clip. We focus on video’s cinematic techniques and codes, on its motivic elements and on (...)
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  2. added 2019-01-15
    An Apocalypse of Pop, Pt II: Vox Lux.Paul Bali - manuscript
  3. added 2019-01-13
    An Apocalypse of Pop, Pt I: Max Martin & the '90s, the Noughts.Paul Bali - manuscript
  4. added 2018-09-21
    The Head and the Groin of Rock.John E. Huss - 2011 - In George Reisch, Dickson Dickson & Luke Dick (eds.), The Rolling Stones and Philosophy: It's Just a Thought Away. Chicago: Open Court. pp. 57-66.
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  5. added 2018-09-20
    Die Philosophie bei Johnny Cash.John Huss (ed.) - 2009 - Wiley.
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  6. added 2018-09-06
    Rock as a Three-Value Tradition.Christopher Bartel - 2017 - Journal of Aesthetics and Art Criticism 75 (2):143-154.
    Gracyk, Kania, and Davies all agree that the rock tradition is distinctive for the central place that it gives to the appreciation of recorded tracks. But we should not be led by those arguments to conclude that the central position of the recorded track makes such appreciation the exclusive interest in rock. I argue that both songwriting and live performance are also central to the rock tradition by showing that the practice of recording tracks admits of a diversity of goals (...)
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  7. added 2018-02-17
    Autonomy, Universality, and Playing the Guitar: On the Politics and Aesthetics of Contemporary Feminist Deployments of the “Master's Tools”.Robin M. James - 2009 - Hypatia 24 (2):77-100.
    Some feminists have argued that the “master's tools” cannot be utilized for feminist projects. When read through the lens of non-ideal theory, Judith Butler's reevaluation of “autonomy” and “universality” and Peaches's engagement with guitar rock are instances in which implements of patriarchy are productively repurposed for feminist ends. These examples evince two criteria whereby one can judge the success of such an attempt: first, accessibility and efficacy; second, that the use is deconstructive of its own conditions.
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  8. added 2017-07-14
    Classic Media Review of Hedwig and the Angry Inch. [REVIEW]Shelley M. Park - 2015 - Queer Studies in Media and Popular Culture 1 (1):125-28.
  9. 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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  10. added 2017-05-09
    The Aesthetics of Electronic Dance Music, Part II: Dancers, DJs, Ontology and Aesthetics.Nick Wiltsher - 2016 - Philosophy Compass 11 (8):426-436.
    What's aesthetically interesting or significant about electronic dance music? The first answer I consider here is that dancing is significant. Using literature on groove, dance and expression, I sketch an account of club dancing as expressive activity. I next consider the aesthetic achievements of DJs, introducing two conceptions of what they do. These thoughts lead to discussions of dance music's ontology. I suggest that the fundamental work of dance music is the mix and that mixes require their own ontology, distinct (...)
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  11. added 2015-08-26
    The Metaphysics of Mash‐Ups.Christopher Bartel - 2015 - Journal of Aesthetics and Art Criticism 73 (3):297-308.
    Accounts of the ontology of musical works seek to uncover what metaphysically speaking a musical work is and how we should identify instances of musical works. In this article, I examine the curious case of the mash-up and seek to address two questions: are mash-ups musical works in their own right and what is the relationship between the mash-up and its source materials? As mash-ups are part of the broader tradition of rock, I situate this discussion within an ontology of (...)
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  12. added 2014-12-17
    Tonspuren. Musik im Film: Fallstudien 1994 - 2001.Andreas Dorschel - 2005 - Universal Edition.
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  13. added 2014-03-28
    Rock Versus Classical Music.Stephen Davies - 1999 - Journal of Aesthetics and Art Criticism 57 (2):193-204.
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  14. added 2014-03-22
    I Wanna Be Me: Rock Music and the Politics of Identity.Stephen Davies - 2003 - British Journal of Aesthetics 43 (2):199-201.
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  15. added 2014-03-19
    Bad Music: The Music We Love to Hate.Christopher Washburne & Maiken Derno (eds.) - 2004 - Routledge.
    Why are some popular musical forms and performers universally reviled by critics and ignored by scholars-despite enjoying large-scale popularity? How has the notion of what makes "good" or "bad" music changed over the years-and what does this tell us about the writers who have assigned these tags to different musical genres? Many composers that are today part of the classical "canon" were greeted initially by bad reviews. Similarly, jazz, country, and pop musics were all once rejected as "bad" by the (...)
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  16. added 2014-03-17
    Music and Technology. Virtuality and Metadesign : Sound Art in the Age of Connectivity / Paulo C. Chagas ; "When New Media Was the Big Idea" : Internet and the Rethinking of Pop-Music Languages / Gianni Sibilla ; Mediated Stardom, Constructed Images : The Value and Functioning of Authorship in Popular Music.Laura Ahonen & Home Studio Aesthetics : Tracking Cultural Processes of Popular Music Production - 2006 - In Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.), Music, Meaning and Media. University of Helsinki.
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  17. added 2014-03-12
    Listening to Popular Music. [REVIEW]Christopher Bartel - 2008 - British Journal of Aesthetics 48 (3):357-359.
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  18. added 2014-03-11
    Musical Recordings.Andrew Kania - 2009 - Philosophy Compass 4 (1):22-38.
    In this article, I first consider the metaphysics of musical recordings: their variety, repeatability, and transparency. I then turn to evaluative or aesthetic issues, such as the relative virtues of recordings and live performances, in light of the metaphysical discussion.
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  19. added 2014-02-27
    Race and the Feminized Popular in Nietzsche and Beyond.Robin James - 2013 - Hypatia 28 (4):749-766.
    I distinguish between the nineteenth- to twentieth-century (modernist) tendency to rehabilitate (white) femininity from the abject popular, and the twentieth- to twenty-first-century (postmodernist) tendency to rehabilitate the popular from abject white femininity. Careful attention to the role of nineteenth-century racial politics in Nietzsche's Gay Science shows that his work uses racial nonwhiteness to counter the supposedly deleterious effects of (white) femininity (passivity, conformity, and so on). This move—using racial nonwhiteness to rescue pop culture from white femininity—is a common twentieth- and (...)
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  20. added 2013-09-02
    Sound Matters: Essays on the Acoustics of Modern German Culture.Nora M. Alter & Lutz P. Koepnick (eds.) - 2004 - Berghahn Books.
    ... composed by Herms Niel as a Durchhaltefanfare, a fanfare of perseverance, for the German troops that had been surrounded on the Crimea peninsula by ...
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  21. added 2013-05-10
    Judging Covers.P. D. Magnus, Cristyn Magnus & Christy Mag Uidhir - 2013 - Journal of Aesthetics and Art Criticism 71 (4):361-370.
    Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, (...)
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  22. added 2012-08-15
    Narrative, Emotion, and Insight. [REVIEW]Rafe Mcgregor - 2012 - Journal of Aesthetics and Art Criticism 70 (3):319-321.
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  23. added 2012-02-06
    Postmodern Music/Postmodern Thought.Judith Irene Lochhead & Joseph Henry Auner (eds.) - 2002 - Routledge.
    What is postmodern music and how does it differ from earlier styles, including modernist music? What roles have electronic technologies and sound production played in defining postmodern music? Has postmodern music blurred the lines between high and popular music? Addressing these and other questions, this ground-breaking collection gathers together for the first time essays on postmodernism and music written primarily by musicologists, covering a wide range of musical styles including concert music, jazz, film music, and popular music. Topics include: the (...)
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  24. added 2011-11-04
    On Intersectionality and Cultural Appropriation: The Case of Postmillennial Black Hipness.Robin James - 2011 - Journal of Black Masculinity 1 (2).
    Feminist, critical race, and postcolonial theories have established that social identities such as race and gender are mutually constitutive—i.e., that they “intersect.” I argue that “cultural appropriation” is never merely the appropriation of culture, but also of gender, sexuality, class, etc. For example, “white hipness” is the appropriation of stereotypical black masculinity by white males. Looking at recent videos from black male hip-hop artists, I develop an account of “postmillennial black hipness.” The inverse of white hipness, this practice involves the (...)
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  25. added 2011-11-04
    Feminist Aesthetics, Popular Music, and the Politics of the 'Mainstream'.Robin James - 2011 - In L. Ryan Musgrave (ed.), Feminist Aesthetics and Philosophy of Art. Springer.
    While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its own limitations and unasked questions. This (...)
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  26. added 2011-05-16
    Phonography, Rock Records, and the Ontology of Recorded Music.Lee B. Brown - 2000 - Journal of Aesthetics and Art Criticism 58 (4):361-372.
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  27. added 2011-03-30
    Deconstruction, Fetishism, and the Racial Contract: On the Politics of "Faking It" in Music.Robin M. James - 2007 - CR 7 (1):45-80.
    I read Sara Kofman's work on Nietzsche, Charles Mills' _The Racial Contract_, and Kodwo Eshun's Afrofuturist musicology to argue that most condemnations of "faking it" in music rest on a racially and sexually problematic fetishization of "the real.".
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  28. added 2011-03-29
    In but Not of, of but Not In: On Taste, Hipness, and White Embodiment.Robin James - 2009 - Contemporary Aesthetics.
    The status of the body figures paradoxically in the interrelated discourses of whiteness, aesthetic taste, and hipness. While Richard Dyer’s analysis of whiteness argues that white identity is “in but not of the body,” Carolyn Korsmeyer’s and Julia Kristeva’s feminist analyses of aesthetic “taste” demonstrate that this faculty is traditionally conceived as something “of” but not “in” the body. While taste directly distances whiteness from embodiment, hipness negatively affirms this same distance: the hipster proves his elite status within white culture (...)
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  29. added 2009-04-06
    Making Tracks: The Ontology of Rock Music.Andrew Kania - 2006 - Journal of Aesthetics and Art Criticism 64 (4):401–414.
    I argue that the work of art in rock music is a track constructed in the studio, that tracks usually manifest songs, which can be performed live, and that a cover version is a track (successfully) intended to manifest the same song as some other track. This ontology reflects the way informed audiences talk about rock. It recognizes not only the centrality of recorded tracks to the tradition, as discussed by Theodore Gracyk, but also the value accorded to live performance (...)
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