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  1. On Popular Music.T. W. Adorno - 1941 - Studies in Philosophy and Social Science 9:17.
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  2. 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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  3. René Maran's "Batouala", Jazz-Text.Susan Allen - unknown
    Research Doctorate - Doctor of Philosophy.
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  4. A Topography of Improvisation.Philip Alperson - 2010 - Journal of Aesthetics and Art Criticism 68 (3):273-280.
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  5. Improvisation: An Overview.Philip Alperson - 1998 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. Oxford University Press. pp. 2--478.
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  6. La Imagen Sonora Notas Para Una Lectura Filos'ofica de la Nueva M'usica Popular.Santiago Auserâon - 1998
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  7. Apr 2002.Martin Sexton Wonder Bar - unknown
    The politics of the popular-music business clearly showed its head at this year�s Grammy Awards. Two worthy artists were vying for New Female artists: Alicia Keys and India Arie. When the winner was called, Alicia Keys walked away with the award (and five others) while India Arie was shut out. I�m convinced that the reason Keys won was not that her work�the strong and ubiquitous Songs in A Minor �was so much better than Arie�s Acoustic Soul. It isn�t. Instead it (...)
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  8. Cultivating an Aesthetic of Unfolding: Jazz Improvisation as a Self-Organizing System.Frank J. Barrett - 2000 - In Stephen Linstead & Heather Höpfl (eds.), The Aesthetics of Organization. Sage Publications. pp. 228--45.
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  9. Art From Start to Finish: Jazz, Painting, Writing, and Other Improvisations.Howard S. Becker, Robert R. Faulkner & Barbara Kirshenblatt-Gimblett - 2008 - Journal of Aesthetics and Art Criticism 66 (2):205-208.
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  10. Rock Lobster: Lobby Loyde and the History of Rock Music in Australia.Peter Beilharz - 2012 - Thesis Eleven 109 (1):64-70.
    This article responds to the new and major work on Lobby Loyde by Paul Oldham. It focuses on the middle period of Loyde’s career, from the Chicago-period Billy Thorpe and the Aztecs through to Lobby’s work with Sharpie band (was it?) Coloured Balls, and connects and compares Lobby’s trajectory to that of the post-Lobby Aztecs, as expressed in Sunbury, the 1972 parallel Australian event to Woodstock. Who led these processes, the bands or the crowds? If the crowd claimed a band, (...)
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  11. The Fundamental Heteronomy of Jazz Improvisation.Bruce Ellis Benson - 2006 - Revue Internationale de Philosophie 4:453-467.
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  12. Jazz: l'Autre exotique.Bruce Ellis Benson - 2005 - Horizons Philosophiques 16 (1):86-100.
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  13. Ingarden and the Problem of Jazz.Bruce Ellis Benson - 1993 - Tijdschrift Voor Filosofie 55 (4):677 - 693.
    Rather than being concerned with questions of aesthetic standards, Ingarden focuses on the question of where a musical work exists. Thus he attempts to draw clear distinctions between musical works, scores, and performances. Yet, while these distinctions seem questionable even from the standpoint of classical music, in jazz, which operates under a paradigm in which improvisation is primary, they prove far more problematic. A crucial assumption behind Ingarden's view of music is that musical performance is essentially a kind of faithful (...)
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  14. Metal, Rock, and Jazz Perception and the Phenomenology of Musical Experience.Harris M. Berger - 1999
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  15. De L’Improvisation.Christian Béthune - 2010 - Nouvelle Revue d'Esthétique 5.
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  16. Call for Papers Song, Songs, and Singing.Jeanette Bicknell & John Andrew Fisher - 2011 - Journal of Aesthetics and Art Criticism 69 (4):vii-vii.
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  17. Le Tumulte Noir Modernist Art and Popular Entertainment in Jazz-Age Paris, 1900-1930.Jody Blake - 1992
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  18. Dutch Youth and Rock Music in the Fin de Siècle Era.Chairperson Zdravko Blažekovíc & Mel van Elteren - 2008 - The European Legacy 2 (1):133-142.
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  19. Dutch Youth and Rock Music in the Fin de Siècle Era.Zdravko Blažekovíc & Mel van Elteren - 1997 - The European Legacy 2 (1):133-142.
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  20. Ibn Al-Jazzār on Medicine for the Poor and Destitute.Gerrit Bos - 1998 - Journal of the American Oriental Society 118 (3):365-375.
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  21. Adorno Reframed: Interpreting Key Thinkers for the Arts.Geoff Boucher - 2012 - I.B. Tauris.
    Dismissed as a miserable elitist who condemned popular culture in the name of 'high art', Theodor W. Adorno (1903–1969) is one of the most provocative and important yet least understood of contemporary thinkers. This book challenges this popular image and re-examines Adorno as a utopian philosopher who believed authentic art could save the world. Adorno Reframed is not only a comprehensive introduction to the reader coming to Adorno for the first time, but also an important re-evaluation of this founder of (...)
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  22. Sound, Society, and Music" Proper".Wayne D. Bowman - forthcoming - Philosophy of Music Education Review.
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  23. What a Difference a Name Makes : Two Instances of African-American Popular Music.D. Brackett - 2003 - In Martin Clayton, Trevor Herbert & Richard Middleton (eds.), The Cultural Study of Music: A Critical Introduction. Routledge.
  24. Tri-Axium Writings.Anthony Braxton - 1985 - Synthesis Music.
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  25. Improvisation.L. B. Brown - 2011 - In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. Routledge. pp. 59--69.
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  26. Adorno's Critique of Popular Culture: The Case of Jazz Music.Lee B. Brown - forthcoming - Journal of Aesthetic Education.
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  27. A Critique of Michael Rings on Covers.Lee B. Brown - 2014 - Journal of Aesthetics and Art Criticism 72 (2):193-195.
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  28. Can American Popular Vocal Music Escape the Legacy of Blackface Minstrelsy?Lee B. Brown - 2013 - Journal of Aesthetics and Art Criticism 71 (1):91-100.
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  29. A Case for Song: Against an (Exclusively) Recording-Centered Ontology of Rock.Franklin Bruno - 2013 - Journal of Aesthetics and Art Criticism 71 (1):65-74.
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  30. Scotland's Hebrides : Song and Culture, Transmission and Transformation.Ray Burnett & Kathryn Burnett - 2011 - In Godfrey Baldacchino (ed.), Island Songs: A Global Repertoire. Scarecrow Press.
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  31. Disruptive Divas Feminism, Identity & Popular Music.Lori Burns & Mélisse Lafrance - 2002
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  32. Sound, Speech, and Music.David L. Burrows - 1990
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  33. L'utopie Jazz entre gratuité et liberté.Yves Citton - 2004 - Multitudes 2 (2):131-144.
    This article explores the intersection between freedom-liberty and freedom-gratuity in the practices filed under the heading «free jazz ». In light of the exemplary trajectory of Ken Vandermark, it analyses the space of freedom opened up by US college radios for the dissemination of improvised music. It then sketches the socio-political model implicitly projected by this unique form of interactive invention taking place within the collective of a jazz band, an interactive invention which dissolves the very notion of authorship. Rejecting (...)
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  34. Jazz as Metaphor, Philosophy as Jazz.Vincent Colapietro - 2012 - In Cornelis De Waal & Krzysztof Piotr Skowroński (eds.), The Normative Thought of Charles S. Peirce. Fordham University Press. pp. 1.
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  35. Psychoanalysis and Jazz.Vincent Colapietro - 2008 - Semiotics:784-796.
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  36. Judging Covers.Cristyn Magnus P. Magnus - 2013 - Journal of Aesthetics and Art Criticism 71 (4):361-370.
    ABSTRACTCover 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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  37. "Is the Moral Criticism of Popular Songs Appropriate at All?": Remarks on Popular Music, Aristotle and MacIntyre.Francisco Sasseti da Mota - 2012 - Revista Portuguesa de Filosofia 68 (1):295-312.
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  38. Beethoven's Symphonic Style and Temporality in Music.Carl Dahlhaus - 1988 - In Veikko Rantala, Lewis Eugene Rowell & Eero Tarasti (eds.), Essays on the Philosophy of Music. Akateeminen Kirjakauppa. pp. 43--281.
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  39. Music's Other Ludwig.Jonathan Derbyshire - 2002 - The Philosophers' Magazine 17:11-12.
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  40. God or Gorilla: Images of Evolution in the Jazz Age. [REVIEW]Dawn Digrius - 2009 - British Journal for the History of Science 42 (4):608-609.
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  41. Ideological and Political Conflicts About Popular Music in Serbia.Misa Djurkovic - 2004 - Filozofija I Društvo 25:271-284.
    The paper is focused on ideological and political conflicts about popular music in Serbia, as a good example of wrong and confused searching for identity. Basic conflict that author is analyzing is about oriental elements and the question if they are legitimate parts of Serbian musical heritage or not. Author is making an analysis of three periods in twentieth century, in which absolutely the same arguments were used, and he's paying special attention to contemporary conflicts, trying to explain why all (...)
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  42. Upholding Standards: A Realist Ontology of Standard Form Jazz.Julian Dodd - 2014 - Journal of Aesthetics and Art Criticism 72 (3):277-290.
    In “All Play and No Work,” Andrew Kania claims that standard form jazz involves no works, only performances. This article responds to Kania by defending one of the alternative ontological proposals that he rejects, namely, that jazz works are ontologically continuous with works of classical music. I call this alternative “the standard view,” and I argue that it is the default position in the ontology of standard form jazz. Kania has three objections to the standard view. The bulk of the (...)
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  43. Developing Awareness of Cultural Music and its Role in Society with Sound Infusion.Alexis Dubourdieu & Jane Ward - 2012 - Ethos: Social Education Victoria 20 (2):8.
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  44. A Behavioristic Interpretation of Jazz.J. B. Eggen - 1926 - Psychological Review 33 (5):407-409.
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  45. Die Improvisation in Beispielen Aus Neun Jahrhunderten Abendländischer Musik.Ernest T. Ferrand - 1958 - Journal of Aesthetics and Art Criticism 17 (1):122-123.
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  46. Jazz: A People's Music.Sidney Finkelstein & Charles T. Smith - 1949 - Science and Society 13 (2):186-191.
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  47. Feige, Daniel Martin. Philosophie des Jazz. Berlin: Suhrkamp Verlag, 2014, 142 Pp., €14,00. [REVIEW]J. Tyler Friedman - 2016 - Journal of Aesthetics and Art Criticism 74 (1):108-110.
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  48. Donner l'Illusion de la Chose Écrite : Reflections on Recordings of Organ Improvisations.Michael Frith - 2008 - In Mine Doğantan (ed.), Recorded Music: Philosophical and Critical Reflections. Middlesex University Press.
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  49. Performing Rites: Evaluating Popular Music.Simon Frith - 1998 - Oxford University Press.
    Who's better? Billie Holiday or P. J. Harvey? Blur or Oasis? Dylan or Keats? And how many friendships have ridden on the answer? Such questions aren't merely the stuff of fanzines and idle talk; they inform our most passionate arguments, distil our most deeply held values, make meaning of our ever-changing culture. In Performing Rites, one of the most influential writers on popular music asks what we talk about when we talk about music. What's good, what's bad? What's high, what's (...)
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  50. Performing Rites on the Value of Popular Music.Simon Frith - 1996
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1 — 50 / 282