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  1. Impurely Musical Make-Believe.Eran Guter & Inbal Guter - 2015 - In Alexander Bareis & Lene Nordrum (eds.), How to Make-Believe: The Fictional Truths of the Representational Arts. De Gruyter. pp. 283-306.
    In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...)
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  • Expressive perception as projective imagining.Paul Noordhof - 2008 - Mind and Language 23 (3):329–358.
    I argue that our experience of expressive properties (such as the joyfulness or sadness of a piece of music) essentially involves the sensuous imagination (through simulation) of an emotion-guided process which would result in the production of the properties which constitute the realisation of the expressive properties experienced. I compare this proposal with arousal theories, Wollheim’s Freudian account, and other more closely related theories appealing to imagination such as Kendall Walton’s. I explain why the proposal is most naturally developed in (...)
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  • Expressive meaning in music: Generality versus particularity.Krzysztof Guczalski - 2005 - British Journal of Aesthetics 45 (4):342-367.
    The dilemma referred to in the title occurs in many contexts concerned with expressive meaning in art, and especially music, which suggests that the issue it raises will be central to any complete theory of musical expressiveness. One notable attempt to resolve the paradox of simultaneous generality and particularity in music is in Aaron Ridley's book Music, Value and the Passions. I show why I consider his account unsatisfactory and then propose my own resolution of the paradox. It takes the (...)
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  • Znaczenie Muzyki - Znaczenia w Muzyce : Próba Ogólnej Teorii na Tle Estetyki Susanne Langer.Krzysztof Guczalski - 1999 - Kraków, Polska: Musica Iagellonica. Edited by Susanne Katherina Knauth Langer.
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  • The philosophy of music.Andrew Kania - 2008 - Stanford Encyclopedia of Philosophy.
    This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.
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  • The Expressiveness of Music.Sanja Sreckovic - 2015 - Theoria: Beograd 58 (3):19-39.
    The paper deals with the relationship between the art of music and human emotions, in particular, with the feature of musical works designated in aesthetic literature as „expressiveness“. After a short presentation of several main attempts at explaining the expressiveness of music in analytical aesthetics, the author offers a clarification of the conceptual confusion within presented theories, and points out their main difficulties and deficiencies.
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  • Ordinary Expression and Musical Expressiveness.María José Alcaraz León - 2014 - Aisthesis. Practiche, Linguaggi E Saperi Dell’Estetico 1 (6):267-284.
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  • A Plea for Concrete Universals.Eduardo García-Ramírez & Ivan Mayerhofer - 2015 - Critica 47 (139):3-46.
    Este artículo trata el problema de los objetos creados que pueden ser repetidos, como las obras musicales y las literarias. En la sección 2 presentamos una serie de desiderata intuitivos que toda teoría debe satisfacer. En las secciones 3 y 4 presentamos un silogismo disyuntivo extendido. Los objetos en cuestión pueden ser o bien universales concretos, particulares concretos, universales abstractos o particulares abstractos. Mostramos cómo es que las teorías que consideran que son cualquiera de las tres últimas opciones fracasan. Por (...)
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  • Musical expression and performance.Carl Humphries - unknown
    This study examines the philosophical question of how it is possible to appreciate music aesthetically as an expressive art form. First it examines a number of general theories that seek to make sense of expressiveness as a characteristic of music that can be considered relevant to our aesthetic appreciation of the latter. These include accounts that focus on resemblances between music and human behaviour or human feelings, on music's powers of emotional arousal, and on various ways in which music may (...)
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  • The role of expectation in the constitution of subjective musical experience.Elisa Negretto - unknown
    The present study is a theoretical discussion concerning some of the important processes that characterize human perception, which is understood as a fundamental structure of consciousness. The aim is to acquire new insights for a better comprehension of the human experience in the world and the way individual subjects become familiar with their environment. To accomplish this task, the experience of listening to music is analysed due to the widespread acceptance of music as an important aspect of human life. With (...)
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