British Journal of Aesthetics 45 (2):175-184 (2005)
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Several prominent philosophers of music, including Lydia Goehr and Peter Kivy, maintain that the experience of music changed drastically in about 1800. According to the great divide hypothesis, prior to 1800 audiences often scarcely attended to music. At other times, music was appreciated as part of social, civic, or religious ceremonies. After the great divide, audiences began to appreciate music as an exclusive object of aesthetic experience. The great divide hypothesis is false. The musicological record reveals that prior to the great divide music was often the exclusive object of aesthetic experience.
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DOI | 10.1093/aesthj/ayi019 |
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Entitled Art: What Makes Titles Names?Michel-Antoine Xhignesse - 2019 - Australasian Journal of Philosophy 97 (3):437-450.
Fake Views—or Why Concepts Are Bad Guides to Art’s Ontology.Michel-Antoine Xhignesse - 2018 - British Journal of Aesthetics 58 (2):193-207.
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