Results for 'Music'

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Bibliography: Music in Arts and Humanities
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  1. Music Critics and Aestheticians Are, on the Surface, Advocates and Guardians of Good Music. But What Exactly is “Good”.Pop Music - 2004 - In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge. pp. 62.
     
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  2. “I Like Bad Music.” That's My Usual Response to People Who Ask Me About My Musi.Rock Critics Need Bad Music - 2004 - In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge.
     
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  3. Sideways Music.Ned Markosian - 2019 - Analysis:anz039.
    There is a popular theory in the metaphysics of time according to which time is one of four similar dimensions that make up a single manifold that is appropriately called spacetime. One consequence of this thesis is that changing an object’s orientation in the manifold does not change its intrinsic features. In this paper I offer a new argument against this popular theory. I claim that an especially good performance of a particularly beautiful piece of music, when oriented within (...)
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  4. Music Practice and Participation for Psychological Well-Being: A Review of How Music Influences Positive Emotion, Engagement, Relationships, Meaning, and Accomplishment.Adam M. Croom - 2015 - Musicae Scientiae: The Journal of the European Society for the Cognitive Sciences of Music 19:44-64.
    In “Flourish,” Martin Seligman maintained that the elements of well-being consist of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes human flourishing or psychological well-being has remained a topic of continued debate among scholars, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would largely manifest most or all of the aforementioned PERMA factors. Further, in “A Neuroscientific Perspective on Music Therapy,” Stefan Koelsch also (...)
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  5. Legg-Hutter Universal Intelligence Implies Classical Music is Better Than Pop Music for Intellectual Training.Samuel Alexander - 2019 - The Reasoner 13 (11):71-72.
    In their thought-provoking paper, Legg and Hutter consider a certain abstrac- tion of an intelligent agent, and define a universal intelligence measure, which assigns every such agent a numerical intelligence rating. We will briefly summarize Legg and Hutter’s paper, and then give a tongue-in-cheek argument that if one’s goal is to become more intelligent by cultivating music appreciation, then it is bet- ter to use classical music (such as Bach, Mozart, and Beethoven) than to use more recent pop (...)
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  6. Music as Affective Scaffolding.Joel Krueger - forthcoming - In David Clarke, Ruth Herbert & Eric Clarke (eds.), Music and Consciousness II. Oxford: Oxford University Press.
    For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. I argue that music is a beyond-the-head resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. I focus on music’s capacity to scaffold emotional consciousness, including the self-regulative processes (...)
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  7. Using the Persona to Express Complex Emotions in Music.Tom Cochrane - 2010 - Music Analysis 29 (1-3):264-275.
    This article defends a persona theory of musical expressivity. After briefly summarising the major arguments for this view, it applies persona theory to the issue of whether music can express complex emotions. The expression of jealousy is then discussed by analysis of two examples from Piazzolla and Janacek.
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  8. Thoughtwriting—in Poetry and Music.Kendall Walton - 2011/2015 - In Kendall L. Walton (ed.), In Other Shoes: Music, Metaphor, Empathy, Existence. Oxford University Press. pp. 54-74.
    Poetry is a literary art, and is often examined alongside the novel, stories, and theater. But poetry, much of it, has more in common with music, in important respects, than with other forms of literature. The emphasis on sound and rhythm in both poetry and music is obvious, but I will explore a very different similarity between them. All or almost all works of literary fiction have narrators—so it is said anyway—characters who, in the world of the fiction, (...)
     
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  9.  61
    Music and Pain.Andreas Dorschel - 2011 - In Jane Fulcher (ed.), The Oxford Handbook of the New Cultural History of Music. Oxford University Press. pp. 68-79.
    Ancient mythology related music to pain in a twofold way. Pain is the punishment inflicted for producing inferior music: the fate of Marsyas; music is sublimation of pain: the achievement of Orpheus and of Philomela. Both aspects have played defining roles in Western musical culture. Pain’s natural expression is the scream. To be present in music at all, pain needs to be transformed. So even where music expresses pain, at the same time it appeases that (...)
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  10. Emotional Responses to Music: The Need to Consider Underlying Mechanisms.Patrik N. Juslin & Daniel Västfjäll - 2008 - Behavioral and Brain Sciences 31 (5):559-575.
    Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, (...)
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  11. The Aesthetics of Music.Roger Scruton - 1997 - Oxford University Press.
    What is music, what is its value, and what does it mean? In this stimulating volume, Roger Scruton offers a comprehensive account of the nature and significance of music from the perspective of modern philosophy. The study begins with the metaphysics of sound. Scruton distinguishes sound from tone; analyzes rhythm, melody, and harmony; and explores the various dimensions of musical organization and musical meaning. Taking on various fashionable theories in the philosophy and theory of music, he presents (...)
  12. Doing Things with Music.Joel W. Krueger - 2011 - Phenomenology and the Cognitive Sciences 10 (1):1-22.
    This paper is an exploration of how we do things with music—that is, the way that we use music as an esthetic technology to enact micro-practices of emotion regulation, communicative expression, identity construction, and interpersonal coordination that drive core aspects of our emotional and social existence. The main thesis is: from birth, music is directly perceived as an affordance-laden structure. Music, I argue, affords a sonic world, an exploratory space or nested acoustic environment that further affords (...)
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  13. Music and Vague Existence.David Friedell - 2017 - Res Philosophica 94 (4):437-449.
    I explain a tension between musical creationism and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an instance of a general problem raised by artifacts, both (...)
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  14. Works of Music: An Essay in Ontology.Julian Dodd - 2007 - Oxford University Press.
    Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered (...)
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  15. To Think or Not To Think: The Apparent Paradox of Expert Skill in Music Performance.Andrew Geeves, Doris J. F. McIlwain, John Sutton & Wayne Christensen - 2013 - Educational Philosophy and Theory (6):1-18.
    Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. (...)
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  16. The Sound of Music: Externalist Style.Luke Kersten & Robert A. Wilson - 2016 - American Philosophical Quarterly 53 (2):139-154.
    Philosophical exploration of individualism and externalism in the cognitive sciences most recently has been focused on general evaluations of these two views (Adams & Aizawa 2008, Rupert 2008, Wilson 2004, Clark 2008). Here we return to broaden an earlier phase of the debate between individualists and externalists about cognition, one that considered in detail particular theories, such as those in developmental psychology (Patterson 1991) and the computational theory of vision (Burge 1986, Segal 1989). Music cognition is an area in (...)
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  17. 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 (...)
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  18.  24
    Creating Time: Social Collaboration in Music Improvisation.Ashley E. Walton, Auriel Washburn, Peter Langland-Hassan, Anthony Chemero, Heidi Kloos & Michael J. Richardson - 2018 - Topics in Cognitive Science 10 (1):95-119.
    Musical collaboration emerges from the complex interaction of environmental and informational constraints, including those of the instruments and the performance context. Music improvisation in particular is more like everyday interaction in that dynamics emerge spontaneously without a rehearsed score or script. We examined how the structure of the musical context affords and shapes interactions between improvising musicians. Six pairs of professional piano players improvised with two different backing tracks while we recorded both the music produced and the movements (...)
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  19.  98
    The Antecedents of Music Piracy Attitudes and Intentions.Jyh-Shen Chiou, Chien-yi Huang & Hsin-hui Lee - 2005 - Journal of Business Ethics 57 (2):161-174.
    Piracy is the greatest threat facing the music industry worldwide today. This study developed and empirically tested a model examining the antecedents of consumer attitude and behavioral intention toward music piracy behavior. Two types of music piracy behavior, unauthorized duplication/download and pirated music product purchasing, were examined. Based on a field survey in Taiwan, the results showed that attributive satisfaction, perceived prosecution risk, magnitude of consequence, and social consensus are very important in influencing customers attitude and (...)
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  20. Nigerian Music and the Black Diaspora in the USA : African Identity, Black Power, and the Free Jazz of the 1960s.Martin A. M. Gansinger & Ayman Kole - 2016 - In Martin A. M. Gansinger & Ayman Kole (eds.), From Tribal to Digital - Effects of Tradition and Modernity on Nigerian Media and Culture. Scholars Press. pp. 15-44.
    This article is the attempt of an historically oriented analysis focused on the role of Nigerian music as a cultural hub for the export of African cultural influences into the Black diaspora in the United States and its anticipation by the Free Jazz/Avantgarde-scene as well as the import of key-values related to the Black Power-movement to the African continent. The aim is to demonstrate the leading role and international impact of Nigeria's cultural industry among sub-saharan African nation states and (...)
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  21.  48
    The Philosophy of Music: Theme and Variations.Aaron Ridley - unknown
    Ridley's book is both an introduction to philosophy of music generally and an introduction to an individual, pungently flavoured philosophy of music. His arguments are lively and provocative, and to boot, he writes like a dream. This is the kind of book that reminds one why philosophy matters, especially as applied to the things we love most.-Jerrold Levinson, professor of philosophy, University of Maryland This outstanding book provides new and distinctive approaches to the five central topics of musical (...)
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  22. Music and Cognitive Extension.Luke Kersten - 2014 - Empirical Musicology Review 9 (3-4):193-202.
    Extended cognition holds that cognitive processes sometimes leak into the world (Dawson, 2013). A recent trend among proponents of extended cognition has been to put pressure on phenomena thought to be safe havens for internalists (Sneddon, 2011; Wilson, 2010; Wilson & Lenart, 2014). This paper attempts to continue this trend by arguing that music perception is an extended phenomenon. It is claimed that because music perception involves the detection of musical invariants within an “acoustic array”, the interaction between (...)
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  23. On the Ancient Idea That Music Shapes Character.James Harold - 2016 - Dao: A Journal of Comparative Philosophy 15 (3):341-354.
    Ancient Chinese and Greek thinkers alike were preoccupied with the moral value of music; they distinguished between good and bad music by looking at the music’s effect on moral character. The idea can be understood in terms of two closely related questions. Does music have the power to affect the ethical character of either listener or performer? If it does, is it better as music for doing so? I argue that an affirmative answers to both (...)
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  24. Music as Atmosphere. Lines of Becoming in Congregational Worship.Friedlind Riedel - 2015 - Lebenswelt. Aesthetics and Philosophy of Experience 6:80-111.
    In this paper I offer critical attention to the notion of atmosphere in relation to music. By exploring the concept through the case study of the Closed Brethren worship services, I argue that atmosphere may provide analytical tools to explore the ineffable in ecclesial practices. Music, just as atmosphere, commonly occupies a realm of ineffability and undermines notions such as inside and outside, subject and object. For this reason I present music as a means of knowing the (...)
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  25. Music, Neuroscience, and the Psychology of Wellbeing: A Précis.Adam M. Croom - 2012 - Frontiers in Theoretical and Philosophical Psychology 2 (393):393.
    In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted (...)
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  26. Emotion and Meaning in Music.Leonard B. Meyer - 1956 - University of Chicago Press.
    Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...
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  27.  50
    Music, Neuroscience, and the Psychology of Well-Being: A Précis.Adam M. Croom - 2012 - Frontiers in Psychology 2:393.
    In Flourish, the positive psychologist Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or well-being: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted to (...)
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  28. Music and Language Perception: Expectations, Structural Integration, and Cognitive Sequencing.Barbara Tillmann - 2012 - Topics in Cognitive Science 4 (4):568-584.
    Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, (...)
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  29.  32
    Music and Dance as a Coalition Signaling System.Edward H. Hagen & Gregory A. Bryant - 2003 - Human Nature 14 (1):21-51.
    Evidence suggests that humans might have neurological specializations for music processing, but a compelling adaptationist account of music and dance is lacking. The sexual selection hypothesis cannot easily account for the widespread performance of music and dance in groups (especially synchronized performances), and the social bonding hypothesis has severe theoretical difficulties. Humans are unique among the primates in their ability to form cooperative alliances between groups in the absence of consanguineal ties. We propose that this unique form (...)
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  30. Wittgenstein, Modern Music, and the Myth of Progress.Eran Guter - 2017 - In Ilkka Niiniluoto & Thomas Wallgren (eds.), On the Human Condition – Essays in Honour of Georg Henrik von Wright’s Centennial Anniversary, Acta Philosophica Fennica vol. 93. Helsinki: Societas Philosophica Fennica. pp. 181-199.
    Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...)
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  31.  38
    Musical Pluralism and the Science of Music.Adrian Currie & Anton Killin - 2016 - European Journal for Philosophy of Science 6 (1):9-30.
    The scientific investigation of music requires contributions from a diverse array of disciplines. Given the diverse methodologies, interests and research targets of the disciplines involved, we argue that there is a plurality of legitimate research questions about music, necessitating a focus on integration. In light of this we recommend a pluralistic conception of music—that there is no unitary definition divorced from some discipline, research question or context. This has important implications for how the scientific study of (...) ought to proceed: we show that some definitions are complementary, that is, they reflect different research interests and ought to be retained and, where possible, integrated, while others are antagonistic, they represent real empirical disagreement about music’s nature and how to account for it. We illustrate this in discussion of two related issues: questions about the evolutionary function of music, and questions of the innateness of music. These debates have been, in light of pluralism, misconceived. We suggest that, in both cases, scientists ought to proceed by constructing integrated models which take into account the dynamic interaction between different aspects of music. (shrink)
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  32. Introduction to a Philosophy of Music.Peter Kivy - 2002 - Clarendon Press.
    Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the center of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction to some (...)
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  33. Cognition and the Evolution of Music: Pitfalls and Prospects.Henkjan Honing & Annemie Ploeger - 2012 - Topics in Cognitive Science 4 (4):513-524.
    What was the role of music in the evolutionary history of human beings? We address this question from the point of view that musicality can be defined as a cognitive trait. Although it has been argued that we will never know how cognitive traits evolved (Lewontin, 1998), we argue that we may know the evolution of music by investigating the fundamental cognitive mechanisms of musicality, for example, relative pitch, tonal encoding of pitch, and beat induction. In addition, we (...)
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  34.  41
    “A Small, Shabby Crystal, yet a Crystal”: A Life of Music in Wittgenstein’s Denkbewegungen.Eran Guter - 2019 - In B. Sieradzka-Baziur, I. Somavilla & C. Hamphries (eds.), Wittgenstein's Denkbewegungen. Diaries 1930-1932/1936-1937: Interdisciplinary Perspectives. Innsbruck, Austria: StudienVerlag. pp. 83-112.
    Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical (...)
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  35.  60
    Ethical Decisions About Sharing Music Files in the P2P Environment.Rong-An Shang, Yu-Chen Chen & Pin-Cheng Chen - 2008 - Journal of Business Ethics 80 (2):349-365.
    Digitized information and network have made an enormous impact on the music and movie industries. Internet piracy is popular and has greatly threatened the companies in these industries. This study tests Hunt-Vitell’s ethical decision model and attempts to understand why and how people share unauthorized music files with others in the peer-to-peer (P2P) network. The norm of anti-piracy, the ideology of free software, the norm of reciprocity, and the ideology of consumer rights are proposed as four deontological norms (...)
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  36. Deleuze on Music, Painting, and the Arts.Ronald Bogue - 2003 - Routledge.
    Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as a whole. Deleuze on Music, Painting and the Arts breaks new ground in the scholarship on Deleuze's aesthetics, while providing a clear and accessible guide to his often overlooked writings in the fields of music and painting.
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  37. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music.Lydia Goehr - 1992 - Oxford University Press.
    What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. Out of the historical thesis, Goehr draws philosophical conclusions about the (...)
  38. Ethical Issues in the Music Industry Response to Innovation and Piracy.Robert F. Easley - 2005 - Journal of Business Ethics 62 (2):163-168.
    The current conflict between the recording industry and a portion of its customers who are involved in illicit copying of music files arose from innovations involving the compression and electronic distribution of files over the internet. This paper briefly describes some of the challenges faced by the recording industry, and examines some of the ethical issues that arise in various industry and consumer responses to the opportunities and threats presented by these innovations. The paper concludes by highlighting the risks (...)
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  39.  51
    Extended Music Cognition.Luke Kersten - 2017 - Philosophical Psychology 30 (8):1078-1103.
    Discussions of extended cognition have increasingly engaged with the empirical and methodological practices of cognitive science and psychology. One topic that has received increased attention from those interested in the extended mind is music cognition. A number of authors have argued that music not only shapes emotional and cognitive processes, but also that it extends those processes beyond the bodily envelope. The aim of this paper is to evaluate the case for extended music cognition. Two accounts are (...)
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  40.  9
    Spontaneous Emergence of Language-Like and Music-Like Vocalizations From an Artificial Protolanguage.Weiyi Ma, Anna Fiveash & William Forde Thompson - 2019 - Semiotica 2019 (229):1-23.
    How did human vocalizations come to acquire meaning in the evolution of our species? Charles Darwin proposed that language and music originated from a common emotional signal system based on the imitation and modification of sounds in nature. This protolanguage is thought to have diverged into two separate systems, with speech prioritizing referential functionality and music prioritizing emotional functionality. However, there has never been an attempt to empirically evaluate the hypothesis that a single communication system can split into (...)
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  41.  72
    La critica di Adorno alla popular music.Luca Corchia - 2017 - The Lab's Quarterly 18 (4):31-56.
    For a long time, popular music has been presented as a field of loisir, devoid of artistic value, social expression of barbaric subcultures and product of a cultural industry aimed at mass distraction. In this perspective, the criticism of Theodor W. Adorno is crucial and, even today, his theses – on the aesthetic inferiority of popular music compared to the “cultivated” music and on the deplorable socio-cultural effects of its diffusion – are still a shared judgment. Even (...)
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  42. 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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  43. Music Cognition: A Developmental Perspective.Stephanie M. Stalinski & E. Glenn Schellenberg - 2012 - Topics in Cognitive Science 4 (4):485-497.
    Although music is universal, there is a great deal of cultural variability in music structures. Nevertheless, some aspects of music processing generalize across cultures, whereas others rely heavily on the listening environment. Here, we discuss the development of musical knowledge, focusing on four themes: (a) capabilities that are present early in development; (b) culture-general and culture-specific aspects of pitch and rhythm processing; (c) age-related changes in pitch perception; and (d) developmental changes in how listeners perceive emotion in (...)
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  44. Silent Music.Andrew Kania - 2010 - Journal of Aesthetics and Art Criticism 68 (4):343-353.
    In this essay, I investigate musical silence. I first discuss how to integrate the concept of silence into a general theory or definition of music. I then consider the possibility of an entirely silent musical piece. I begin with John Cage’s 4′33″, since it is the most notorious candidate for a silent piece of music, even though it is not, in fact, silent. I conclude that it is not music either, but I argue that it is a (...)
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  45.  71
    Themes in the Philosophy of Music.Stephen Davies - 2003 - Oxford University Press.
    Representing Stephen Davies's best shorter writings, these essays outline developments within the philosophy of music over the last two decades, and summarize the state of play at the beginning of a new century. Including two new and previously unpublished pieces, they address both perennial questions and contemporary controversies, such as that over the 'authentic performance' movement, and the impact of modern technology on the presentation and reception of musical works. Rather than attempting to reduce musical works to a single (...)
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  46.  44
    Understanding Music: Philosophy and Interpretation.Roger Scruton - 2009 - Continuum.
    Following his celebrated book The Aesthetics of Music, Scruton explores the fundamental elements that constitute a great piece of music.
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  47.  50
    Unperformable Works and the Ontology of Music.Wesley D. Cray - 2016 - British Journal of Aesthetics 56 (1):67-81.
    Some artworks—works of music, theatre, dance, and the like—are works for performance. Some works for performance are, I contend, unperformable. Some such works are unperformable by beings like us; others are unperformable given our laws of nature; still others are unperformable given considerations of basic logic. I offer examples of works for performance—focusing, in particular, on works of music—that would fit into each of these categories, and go on to defend the claim that such ‘works’ really are genuine (...)
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  48. Is Music Downloading the New Prohibition? What Students Reveal Through an Ethical Dilemma.Shoshana Altschuller & Raquel Benbunan-Fich - 2009 - Ethics and Information Technology 11 (1):49-56.
    Although downloading music through unapproved channels is illegal, statistics indicate that it is widespread. The following study examines the attitudes and perceptions of college students that are potentially engaged in music downloading. The methodology includes a content analysis of the recommendations written to answer an ethical vignette. The vignette presented the case of a subject who faces the dilemma of whether or not to download music illegally. Analyses of the final reports indicate that there is a vast (...)
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  49. Philosophy of New Music.Theodor W. Adorno - 2006 - Univ of Minnesota Press.
    [Tnis is a new translation of Adorno's Philosophie der neuen Musik. The older translation has the title 'Philosophy of Modern Music'. -NJ].
     
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  50.  35
    Conceptual And Nonconceptual Modes Of Music Perception.Mark Debellis - 2005 - Postgraduate Journal of Aesthetics 2 (2):45-61.
    What does it mean to say that music perception is nonconceptual? As the passages from Meyer and Budd illustrate, one frequently encounters claims of this kind: it is often suggested that there is a level of perceptual contact with, or understanding or enjoyment of, music—one in which listeners typically engage—that does not require conceptualization. But just what does a claim of this sort amount to, and what arguments may be adduced for it? And is all musical hearing nonconceptual, (...)
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