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. Sideways Music.Ned Markosian - 2019 - Analysis (1):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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  3. 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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  4. 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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  5.  99
    Music, Art, and Metaphysics.Jerrold Levinson - 2011 - Oxford University Press.
    This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.
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  6. “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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  7.  34
    Music, the Arts, and Ideas.Leonard B. Meyer - 1967 - Chicago: University of Chicago Press.
    The Postlude, written for this edition, looks back at the predictions made more than twenty-five years ago and speculates about what the coming decades may hold ...
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  8. Music and the Emotions: The Philosophical Theories.Malcolm Budd - 1985 - Routledge.
    It has often been claimed, and frequently denied, that music derives some or all of its artistic value from the relation in which it stands to the emotions. This book presents and subjects to critical examination the chief theories about the relationship between the art of music and the emotions.
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  9.  81
    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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  10. 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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  11. 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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  12. 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 (...)
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  13.  50
    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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  14. 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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  15. 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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  16. 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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  17.  7
    Music and Its Inductive Power: A Psychobiological and Evolutionary Approach to Musical Emotions.Mark Reybrouck & Tuomas Eerola - 2017 - Frontiers in Psychology 8.
    The aim of this contribution is to broaden the concept of musical meaning from an abstract and emotionally neutral cognitive representation to an emotion-integrating description that is related to the evolutionary approach to music. Starting from the dispositional machinery for dealing with music as a temporal and sounding phenomenon, musical emotions are considered as adaptive responses to be aroused in human beings as the product of neural structures that are specialized for their processing. A theoretical and empirical background (...)
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  18. Music Alone: Philosophical Reflections on the Purely Musical Experience.Peter Kivy - 1990 - Cornell University Press.
    In the Essai sur Vorigine des langues (), Jean-Jacques Rousseau reports on an eighteenth-century curiosity that has, from time to time, fascinated musicians ...
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  19.  12
    The Music of Life: Biology Beyond the Genome.Denis Noble - 2006 - Oxford University Press.
    What is Life? This is the question asked by Denis Noble in this very personal and at times deeply lyrical book. Noble is a renowned physiologist and systems biologist, and he argues that the genome is not life itself: to understand what life is, we must view it at a variety of different levels, all interacting with each other in a complex web. It is that emergent web, full of feedback between levels, from the gene to the wider environment, that (...)
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  20.  65
    Music and Conceptualization.Mark DeBellis - 1995 - Cambridge University Press.
    This book is a philosophical study of the relations between hearing and thinking about music. The central problem it addresses is as follows: how is it possible to talk about what a listener perceives in terms that the listener does not recognize? By applying the concepts and techniques of analytic philosophy the author explores the ways in which musical hearing may be described as nonconceptual, and how such mental representation contrasts with conceptual thought. The author is both philosopher and (...)
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  21. Making Music Together: A Study in Social Relationship.Alfred Schütz - forthcoming - Social Research.
     
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  22.  35
    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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  23.  3
    Absolute Music: The History of an Idea.Mark Evan Bonds - 2014 - Oup Usa.
    In Absolute Music: The History of an Idea, author Mark Evan Bonds examines how writers have struggled to isolate the essence of music in ways that account for its profound effects on the human spirit. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to twentieth-century America, Bonds provides the first comprehensive history of this pivotal concept, and provokes new thoughts on the essence of music and how this essence explains (...)
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  24.  66
    The Music Instinct: How Music Works and Why We Can't Do Without It.Philip Ball - 2010 - Oxford University Press.
    Now in The Music Instinct , award-winning writer Philip Ball provides the first comprehensive, accessible survey of what is known--and still unknown--about how ...
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  25.  62
    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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  26.  23
    The Music of Ritual Practice—An Interpretation.Peter Yih-Jiun Wong - 2012 - Sophia 51 (2):243-255.
    Music is an important philosophical theme in Confucian writings, one that is intimately related to ritual. But the relationship between music and ritual requires clarification. This paper seeks to argue for a general sense of music that reflects a particular aspect of ritual that has to do with performance. There is much material available in classical texts, such as the 'Record of Music' ('Yueji'), that allows for nuanced explications of the musical qualities of such performances. Thus (...)
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  27.  59
    Music, Art, and Metaphysics: Essays in Philosophical Aesthetics.Jerrold Levinson - 1990 - Cornell University Press.
    This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.
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  28.  27
    Language, Music and Mind.Stephen Davies - 1993 - Journal of Aesthetics and Art Criticism 52 (3):360-362.
  29. 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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  30.  19
    The Music of Life: Biology Beyond Genes.Denis Noble - 2008 - Oxford University Press.
    What is Life? To answer this question, Denis Noble argues that we must look beyond the gene's eye view. For modern 'systems biology' considers life on a variety of levels, as an intricate web of feedback between gene, cell, organ, body, and environment. He shows how it is both a biologically rigorous and richly rewarding way of understanding life.
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  31.  97
    Why Music Moves Us.Jeanette Bicknell - 2009 - Palgrave-Macmillan.
    The tears of Odysseus -- History : music gives voice to the ineffable -- Tears, chills, and broken bones -- The music itself -- Explaining strong emotional responses to music I -- Explaining strong emotional responses to music II -- The sublime, revisited -- Conclusion : values.
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  32.  78
    Music Perception and Cognition: A Review of Recent Cross‐Cultural Research. [REVIEW]Catherine J. Stevens - 2012 - Topics in Cognitive Science 4 (4):653-667.
    Experimental investigations of cross-cultural music perception and cognition reported during the past decade are described. As globalization and Western music homogenize the world musical environment, it is imperative that diverse music and musical contexts are documented. Processes of music perception include grouping and segmentation, statistical learning and sensitivity to tonal and temporal hierarchies, and the development of tonal and temporal expectations. The interplay of auditory, visual, and motor modalities is discussed in light of synchronization and the (...)
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  33.  68
    Philosophy, Music and Emotion.Geoffrey Madell - 2002 - Edinburgh University Press.
    Philosophy, Music and Emotion explores two contentious issues in contemporary philosophy: the nature of music´s power to express emotion, and the nature of emotion itself. It shows how closely the two are related and provides a radically new account of what it means to say that music "expresses emotion." Geoffrey Madell maintains that most current accounts of musical expressiveness are fundamentally misguided. He attributes this fact to the influence of a famous argument of the nineteenth-century critic Hanslick, (...)
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  34. 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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  35.  28
    Not Music, but Musics: A Case for Conceptual Pluralism in Aesthetics.Adrian Currie & Anton Killin - 2017 - Estetika 54 (2):151-174.
    We argue for conceptual pluralism about music. In our view, there is no right answer to the question ‘What is music?’ divorced from some context or interest. Instead, there are several, non-equivalent music concepts suited to different interests – from within some tradition or practice, or by way of some research question or field of inquiry. We argue that unitary definitions of music are problematic, that the role music concepts play in various research questions should (...)
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  36. Music, Essential Metaphor, and Private Language.Nick Zangwill - 2011 - American Philosophical Quarterly 48 (1):1.
    Music is elusive. describing it is problematic. In particular its aesthetic properties cannot be captured in literal description. Beyond very simple terms, they cannot be literally described. In this sense, the aesthetic description of music is essentially nonliteral. An adequate aesthetic description of music must have resort to metaphor or other nonliteral devices. I maintain that this is because of the nature of the aesthetic properties being described. I defend this view against an apparently simple objection put (...)
     
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  37. The Music Between Us: Is Music a Universal Language?Kathleen Marie Higgins - 2012 - University of Chicago Press.
    Other people's music -- Musical animals -- What's involved in sounding human? -- Cross-cultural understanding -- The music of language -- Musical synesthesia -- A song in your heart -- Comfort and joy -- Beyond ethnocentrism.
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  38. Music, Emotions and the Influence of the Cognitive Sciences.Tom Cochrane - 2010 - Philosophy Compass 5 (11):978-988.
    This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases (...)
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  39.  65
    Seeing Music Performance: Visual Influences on Perception and Experience.William Forde Thompson, Phil Graham & Frank A. Russo - 2005 - Semiotica 2005 (156):203-227.
    Drawing from ethnographic, empirical, and historical / cultural perspectives, we examine the extent to which visual aspects of music contribute to the communication that takes place between performers and their listeners. First, we introduce a framework for understanding how media and genres shape aural and visual experiences of music. Second, we present case studies of two performances, and describe the relation between visual and aural aspects of performance. Third, we report empirical evidence that visual aspects of performance reliably (...)
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  40.  17
    Music-Colour Synaesthesia: Concept, Context and Qualia.Caroline Curwen - 2018 - Consciousness and Cognition 61:94-106.
    This review provides a commentary on coloured-hearing arising on hearing music: music-colour synaesthesia. Although traditionally explained by the hyperconnectivity theory (Ramachandran & Hubbard, 2001a) and the disinhibited feedback theory (Grossenbacher & Lovelace, 2001) as a purely perceptual phenomenon, the review of eight coloured-hearing neuroimaging studies shows that it may not be assumed that these explanations are directly translatable to music-colour synaesthesia. The concept of 'ideaesthesia' (Nikolić, 2009) and the role of conceptual and semantic inducers challenge the likelihood (...)
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  41.  40
    The Music of Our Lives.Kathleen Marie Higgins - 1991 - Temple University Press.
    Kathleen Higgins argues that the arguments that Plato used to defend the ethical value of music are still applicable today. Music encourages ethically valuable attitudes and behavior, provides practice in skills that are valuable in ethical life, and symbolizes ethical ideals.
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  42.  69
    Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives.David Clarke & Eric Clarke (eds.) - 2011 - Oxford University Press.
    What is consciousness? Why and when do we have it? Where does it come from, and how does it relate to the lump of squishy grey matter in our heads, or to our material and social worlds? While neuroscientists, philosophers, psychologists, historians, and cultural theorists offer widely different perspectives on these fundamental questions concerning what it is like to be human, most agree that consciousness represents a 'hard problem'. -/- The emergence of consciousness studies as a multidisciplinary discourse addressing these (...)
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  43.  53
    Enactive Music Cognition: Background and Research Themes.J. R. Matyja & A. Schiavio - 2013 - Constructivist Foundations 8 (3):351-357.
    Context: The past few years have presented us with a growing amount of theoretical research (yet that is often based on neuroscientific developments) in the field of enactive music cognition. Problem: Current cognitivist and embodied approaches to music cognition suffer, in our opinion, from a too firm commitment to the explanatory role of mental representations in musical experience. This particular problem can be solved by adopting an enactive approach to music cognition. Method: We present and compare cognitivist, (...)
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  44.  62
    Music, Imagination, and Culture.Nicholas Cook - 1990 - Oxford University Press.
    Drawing on psychological and philosophical materials as well as the analysis of specific musical examples, Cook here defines the difference between music...
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  45.  57
    Music in the Moment.Jerrold Levinson - 1997 - Cornell University Press.
    Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not.
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  46.  58
    Music Feels Like Moods Feel.Kris Goffin - 2014 - Frontiers in Psychology 5:327.
    While it is widely accepted that music evokes moods, there is disagreement over whether music-induced moods are relevant to the aesthetic appreciation of music as such. The arguments against the aesthetic relevance of music-induced moods are: moods cannot be intentionally directed at the music and music-induced moods are highly subjective experiences and are therefore a kind of mind-wandering. This paper presents a novel account of musical moods that avoids these objections. It is correct to (...)
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  47. Music as a source of emotion in film.Annabel J. Cohen - 2011 - In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press.
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  48.  59
    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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  49.  66
    Music Evoked Emotions Are Different–More Often Aesthetic Than Utilitarian.Klaus Scherer & Marcel Zentner - 2008 - Behavioral and Brain Sciences 31 (5):595-596.
    We disagree with Juslin & Vll's (J&V's) thesis that music-evoked emotions are indistinguishable from other emotions in both their nature and underlying mechanisms and that music just induces some emotions more frequently than others. Empirical evidence suggests that frequency differences reflect the specific nature of music-evoked emotions: aesthetic and reactive rather than utilitarian and proactive. Additional mechanisms and determinants are suggested as predictors of emotions triggered by music.
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  50. Music, Emotion and Metaphor.Nick Zangwill - 2007 - Journal of Aesthetics and Art Criticism 65 (4):391-400.
    We describe music in terms of emotion. How should we understand this? Some say that emotion descriptions should be understood literally. Let us call those views “literalist.” By contrast “nonliteralists” deny this and say that such descriptions are typically metaphorical.1 This issue about the linguistic description of music is connected with a central issue about the na- ture of music. That issue is whether there is any essential connection between music and emotion. According to what we (...)
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