8 found
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Brandon Polite [7]Brandon E. Polite [1]
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Brandon Polite
Knox College
  1.  61
    Shared Musical Experiences.Brandon Polite - 2019 - British Journal of Aesthetics 59 (4):429-447.
    In ‘Listening to Music Together’, Nick Zangwill offers three arguments which aim to establish that listening to music can never be a joint activity. If any of these arguments were sound, then our experiences of music, qua object of aesthetic attention, would be essentially private. In this paper, I argue that Zangwill’s arguments are unsound and I develop an account of shared musical experience that defends three main conclusions. First, joint listening is not merely possible but a common feature of (...)
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  2. The Varieties of Musical Experience.Brandon Polite - 2014 - Pragmatism Today 5 (2):93-100.
    Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the (...)
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  3.  41
    Prelude to a Theory of Musical Representation.Brandon Polite - 2017 - Revista Música 17 (1):89-108.
    In this paper, I present the beginnings of a resemblance theory of representation. I start by surveying the contemporary philosophical debate surrounding musical representation and reveal that its main interlocutors share a conception of artistic representation as a mode of meaningful communication. I then show how conceiving of artistic representation in this way severely limits music’s possibilities as a medium for representation. Next, I propose an alternative conception of representation that, despite its widespread acceptance outside of the philosophy of art, (...)
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  4.  51
    A Correspondence Theory of Musical Representation.Brandon E. Polite - 2010 - Dissertation, University of Illinois Urbana-Champaign
    This dissertation defends the place of representation in music. Music’s status as a representational art has been hotly debated since the War of the Romantics, which pitted the Weimar progressives (Liszt, Wagner, &co.) against the Leipzig conservatives (the Schumanns, Brahms, &co.) in an intellectual struggle for what each side took to be the very future of music as an art. I side with the progressives, and argue that music can be and often is a representational medium. Correspondence (or resemblance) theories (...)
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  5.  5
    Trivedi, Saam. Imagination, Music, and the Emotions: A Philosophical Study. State University of New York Press, 2017, 205 Pp., $80.00 Cloth. [REVIEW]Brandon Polite - 2020 - Wiley: The Journal of Aesthetics and Art Criticism 78 (1):117-120.
    The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 117-120, Winter 2020.
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  6.  3
    Trivedi, Saam. Imagination, Music, and the Emotions: A Philosophical Study. State University of New York Press, 2017, 205 Pp., $80.00 Cloth.Book Reviews. [REVIEW]Brandon Polite - 2020 - Journal of Aesthetics and Art Criticism 78 (1):117-120.
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  7.  4
    Tortured Calculations: Body Economies in Shakespeare's Cultures of Honor.Brandon Polite - 2011 - Selected Papers of the Ohio Valley Shakespeare Conference 4:68-79.
    In this paper, I explore the ways in which human bodies, payback, and comestibility become inescapably entangled in cultures in which honor is the prevailing virtue. Shakespeare was deeply sensitive to the social and psychological processes through which these concepts become entwined when honor is at stake—to the ways in which, as a means of corrective response, men who transgress a code of honor can be rightly reduced to their bodies, similar to how those who are not allowed to be (...)
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  8.  1
    Nanay, Bence. Aesthetics: A Very Short Introduction. [REVIEW]Brandon Polite - forthcoming - Journal of Aesthetics and Art Criticism.
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