Results for 'Bradley Music'

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  1.  7
    Dewey’s Theory of Experience, Traumatic Memory, and Music Education.Juliet Hess & Deborah Bradley - 2020 - Studies in Philosophy and Education 39 (4):429-446.
    Trauma’s ubiquity in society leads to an acknowledgement that damaging experiences likely affect more students than they leave untouched. Dewey acknowledged the importance of the past throughout his theorizing of experience and simultaneously recognized that students need to draw upon past experiences in new learning encounters. In this paper, we argue that Dewey may have opened the door to account for the possibility of traumatic experience affecting learning. We acknowledge the potential of music to prompt a trauma response and (...)
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  2.  16
    Good for What, Good for Whom?: Decolonizing Music Education Philosophies.Deborah Bradley - 2012 - In Wayne D. Bowman & Ana Lucía Frega (eds.), The Oxford Handbook of Philosophy in Music Education. Oup Usa. pp. 409.
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  3. Philosophy After F.H. Bradley a Collection of Essays.James Bradley & Leslie Armour - 1996
     
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  4. 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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  5. “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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  6. Collected Works of F.H. Bradley.F. H. Bradley - 1999 - Thoemmes Press.
    F. H. Bradley (1846-1924) was considered in his day to be the greatest British philosopher since Hume. For modern philosophers he continues to be an important and influential figure. However, the opposition to metaphysical thinking throughout most of the twentieth century has somewhat eclipsed his important place in the history of British thought. Consequently, although there is renewed interest in his ideas and role in the development of Western philosophy, his writings are often hard to find. This collection unites (...)
     
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  7.  50
    The Rev. James Bradley on the Motion of the Fixed Stars.James Bradley - 1912 - The Monist 22 (2):268-285.
  8.  68
    "Rational Hedonism."-Note by Mr. Bradley.F. H. Bradley - 1895 - International Journal of Ethics 5 (3):383-384.
  9.  9
    Review of Adam Bradley, Book of Rhymes. [REVIEW]Alex Gurnham - 2011 - Mediatropes 3 (1):151-153.
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  10.  33
    In the Space Between the Rock and the Hard Place: State Teacher Certification Guidelines and Music Education for Social Justice.Bradley - 2011 - Journal of Aesthetic Education 45 (4):79-96.
    Différend: A case of conflict between (at least) two parties, that cannot be equitably resolved for lack of a rule of judgment applicable to both arguments. . . . A wrong results from the fact that the rules of the genre of discourse by which one judges are not those of the judged genre or genres of discourse. This paper looks at the State of Wisconsin Department of Public Instruction (DPI) Guidelines for Music Teacher Education, a governmentally defined technology (...)
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  11.  35
    Music to My Eyes: Cross-Modal Interactions in the Perception of Emotions in Musical Performance.Bradley W. Vines, Carol L. Krumhansl, Marcelo M. Wanderley, Ioana M. Dalca & Daniel J. Levitin - 2011 - Cognition 118 (2):157-170.
  12.  15
    Response to Deborah Bradley, “Oh, That Magic Feeling! Multicultural Human Subjectivity, Community, and Fascism's Footprints”.Marja Heimonen - 2009 - Philosophy of Music Education Review 17 (1):85-89.
  13. 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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  14. 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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  15. 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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  16. 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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  17. 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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  18.  72
    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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  19.  33
    Bradley, Ethical Studies, and Dialectic: Self-Realisation and its Equivocations.Damian Ilodigwe - 2004 - Bradley Studies 10 (1/2):65-87.
    A striking feature of Bradley’s thought is its dialectical structure. This is evident in all his writings especially Ethical Studies in which he investigates the topic of self-realization within the larger context of the question of the nature of morality. In the Ethical Studies Bradley looks at different accounts of morality vis-à-vis the demand of self realization and finds none of them absolutely adequate albeit one is relatively adequate than the other. For this reason he condemns the “ethics (...)
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  20.  23
    Bradley’s Supposed Rejection of Subject-Predicate Judgements.F. Sauri - 1998 - Bradley Studies 4 (1):102-112.
    In his book on Bradley, Wollheim maintains that Bradley criticizes the traditional subject-predicate view of judgement. Let’s see Bradley’s argument according to Wollheim.
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  21. Bradley's Conception of Metaphysics.Leemon McHenry - 1996 - In William Mander (ed.), Perspectives on the Logic and Metaphysics of F H Bradley. Bristol, UK: pp. 159-175.
    This article makes a distinction between pure and naturalized metaphysics and characterized F. H. Bradley's metaphysics as the former, according to which pure reason alone independent of the natural sciences discovers the true nature of reality. Bradley's view is critically evaluated via the the naturalized views of A. N. Whitehead and W. V. Quine.
     
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  22. 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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  23.  58
    Music and the Evolution of Embodied Cognition.Stephen Asma - forthcoming - In M. Clasen J. Carroll (ed.), Evolutionary Perspectives on Imaginative Culture. pp. pp 163-181.
    Music is a universal human activity. Its evolution and its value as a cognitive resource are starting to come into focus. This chapter endeavors to give readers a clearer sense of the adaptive aspects of music, as well as the underlying cognitive and neural structures. Special attention is given to the important emotional dimensions of music, and an evolutionary argument is made for thinking of music as a prelinguistic embodied form of cognition—a form that is still (...)
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  24.  50
    Words Fail Me. (Stanley Cavell's Life Out of Music).William Day - 2020 - In David LaRocca (ed.), Inheriting Stanley Cavell: Memories, Dreams, Reflections. New York: Bloomsbury. pp. 187-97.
    Stanley Cavell isn't the first to arrive at philosophy through a life with music. Nor is he the first whose philosophical practice bears the marks of that life. Much of Cavell's life with music is confirmed for the world in his philosophical autobiography Little Did I Know. A central moment in that book is Cavell's describing the realization that he was to leave his musical career behind – for what exactly, he did not yet know. He connects the (...)
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  25. 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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  26. 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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  27. 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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  28. 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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  29. Trope Theory and the Bradley Regress.Anna-Sofia Maurin - 2010 - Synthese 175 (3):311-326.
    Trope theory is the view that the world is a world of abstract particular qualities. But if all there is are tropes, how do we account for the truth of propositions ostensibly made true by some concrete particular? A common answer is that concrete particulars are nothing but tropes in compresence. This answer seems vulnerable to an argument (first presented by F. H. Bradley) according to which any attempt to account for the nature of relations will end up either (...)
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  30. 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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  31. 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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  32.  89
    Bachelard and Deleuze on and with Experimental Science, Experimental Philosophy, and Experimental Music.Iain Campbell - 2019 - In Guillaume Collett (ed.), Deleuze, Guattari, and the Problem of Transdisciplinarity. London: Bloomsbury. pp. 73-104.
    In this chapter I look at some questions around the notion of experimentation in philosophy, science, and the arts, through the thought of Gaston Bachelard and Gilles Deleuze. My argument is articulated around three areas of enquiry – Bachelard’s work on the experimental sciences, Deleuze’s notion of philosophy as an experimental practice, and recent musicological debate around the practical and political stakes of the term ‘experimental music’. By drawing together these three senses of experimentation, I test the possibilities of (...)
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  33. 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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  34. 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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  35. 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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  36. 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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  37. Measure for Measure: Wittgenstein's Critique of the Augustinian Picture of Music.Eran Guter - 2019 - In Hanne Appelqvist (ed.), Wittgenstein and the Limits of Language. London: Routledge. pp. 245-269.
    This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion of pure memory-time (...)
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  38.  74
    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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  39. 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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  40. 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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  41. 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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  42. 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 (...)
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  43. 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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  44.  58
    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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  45. 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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  46. 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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  47.  4
    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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  48. 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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  49. 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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  50.  34
    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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