Results for 'Fine Music'

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  1.  27
    Ahern, Daniel R. The Smile of Tragedy: Nietzsche and the Art of Virtue. University Park, PA: Pennsylvania State University Press, 2012. Pp. Xi+ 168. Cloth, $64.95. Alican, Necip Fikri. Rethinking Plato: A Cartesian Quest for the Real Plato. Value Inquiry Book Series. Amsterdam-New York: Rodopi, 2012. Pp. Xxv+ 604. Cloth, $176.00. Allison, Henry E. Essays on Kant. Oxford-New York: Oxford University Press, 2012. Pp. Xiv+ 289. [REVIEW]Fine Music - 2013 - Journal of the History of Philosophy 51 (1):145-147.
  2. 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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  3. “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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  4. The Silence of the Lambdas. Interview with Kit Fine.Kit Fine - 2011 - The Philosophers' Magazine 55 (55):19-27.
    “Mathematical objects are not exactly of our own making, but we actually have to do something to get them. There’s something out there which we prod, but there’s the prodding that’s also required. Numbers are not exactly out there or in us, but somehow in between.”.
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  5. Fine Sense of Mischief.Arthur Fine - 1999 - The Philosophers' Magazine 5 (5):47-48.
  6.  65
    The Fine Art of Repetition: Essays in the Philosophy of Music.Peter Kivy - 1993 - Cambridge University Press.
    Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music (...)
  7. Rethinking Musical Modernism: Proceedings of the International Conference Held From October 11 to 13, 2007: Accepted at the Ii Meeting of the Department of Fine Arts and Music of 20 June 2008, on the Basis of the Reviews by Akademicians Dejan Despić and Dimitrije Stefanović / Editors Dejan Despić, Mileta Milin. [REVIEW]Dejan Despić & Melita Milin (eds.) - 2008 - Muzikološki Institut Sanu.
     
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  8.  5
    The Fine Art of Repetition: Essays in the Philosophy of Music.John Andrew Fisher - 1996 - Philosophy and Phenomenological Research 56 (4):962-965.
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  9.  7
    The Fine Art of Repetition: Essays in the Philosophy of Music.Kathleen Marie Higgins - 1994 - Journal of Aesthetics and Art Criticism 52 (4):472-473.
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  10.  22
    The Fine Art of Repetition: Essays in the Philosophy of Music[REVIEW]Jean G. Harrell - 1997 - International Studies in Philosophy 29 (1):139-140.
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  11.  14
    The Fine Art of Repetition: Essays in the Philosophy of Music Peter Kivy New York: Cambridge University Press, 1993, X + 373 Pp. [REVIEW]Paul Dumouchel - 1997 - Dialogue 36 (2):416-419.
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  12.  19
    The Fine Art of Repetition: Essays in the Philosophy of Music.John Andrew Fisher - 1996 - Philosophy and Phenomenological Research 56 (4):962-965.
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  13.  5
    Lectures on the Affinity of Painting with the Other Fine ArtsThe Visual Text of William Carlos WilliamsPaul Klee/Art & Music.George W. Linden, Samuel F. B. Morse, Henry M. Sayre & Andrew Kagan - 1985 - Journal of Aesthetic Education 19 (3):115.
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  14. Peter Kivy, The Fine Art of Repetition: Essays in the Philosophy of Music Reviewed By.Thomas Huhn - 1994 - Philosophy in Review 14 (3):175-177.
     
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  15.  3
    The Influence of Chronotype on Making Music: Circadian Fluctuations in Pianists' Fine Motor Skills.Floris T. Van Vugt, Katharina Treutler, Eckart Altenmüller & Hans-Christian Jabusch - 2013 - Frontiers in Human Neuroscience 7.
  16. Allegory Old and New in Literature, Fine Art, Music and Theatre and its Continuity in Culture.Marlies Kronegger, Anna-Teresa Tymieniecka, World Institute for Advanced Phenomenological Research and Learning, International Society for Phenomenology and Literature & International Phenomenology Congress - 1994
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  17.  91
    Why Didn’T Kant Think Highly of Music?Emine Hande Tuna - 2018 - In Violetta Waibel & Margit Ruffing (eds.), Natur und Freiheit: Akten des XII. Internationalen Kant-Kongresses. Berlin, Germany: De Gruyter. pp. 3141-3148.
    In this paper, in answering the question why Kant didn’t think very highly of music, I argue that for Kant (i) music unlike other art forms, lends itself more easily to combination judgments involving judgments of sense, which increases the propensity to make aesthetic mistakes and is ill-suited as an activity for improving one’s taste; (ii) music expresses aesthetic ideas and presents rational ideas only by taking advantage of existing associations while other art forms do so by (...)
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  18. Constitution and Qua Objects in the Ontology of Music.Simon J. Evnine - 2009 - British Journal of Aesthetics 49 (3):203-217.
    Musical Platonists identify musical works with abstract sound structures but this implies that they are not created but only discovered. Jerrold Levinson adapts Platonism to allow for creation by identifying musical works with indicated sound structures. In this paper I explore the similarities between Levinson's view and Kit Fine's theory of qua objects. Fine offers the theory of qua objects as an account of constitution, as it obtains, for example, between a statue and the clay the statue is (...)
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  19. 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, (...)
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  20.  85
    Nonconceptual Content and the Sound of Music.Michael Luntley - 2003 - Mind and Language 18 (4):402-426.
    : I present an argument for the existence of nonconceptual representational content. The argument is compatible with McDowell's defence of conceptualism against those arguments for nonconceptual content that draw upon claims about the fine‐grainedness of experience. I present a case for nonconceptual content that concentrates on the idea that experience can possess representational content that cannot perform the function of conceptual content, namely figure in the subject's reasons for belief and action. This sort of argument for nonconceptual content is (...)
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  21.  98
    Where Languages End: Ludwig Wittgenstein at the Crossroads of Music, Language, and the World.Eran Guter - 2004 - Dissertation, Boston University
    Most commentators have underplayed the philosophical importance of Wittgenstein's multifarious remarks on music, which are scattered throughout his Nachlass. In this dissertation I spell out the extent and depth of Wittgenstein's engagement with certain problems that are regarded today as central to the field of the aesthetics of music, such as musical temporality, expression and understanding. By considering musical expression in its relation to aspect-perception, I argue that Wittgenstein understands music in terms of a highly evolved, vertically (...)
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  22. Facing the Music: Voices From the Margins.Philip Alperson - 2009 - Topoi 28 (2):91-96.
    Recent philosophy of music in the Anglophone analytic tradition has produced many fine-grained analyses of musical practices within the context of the Western fine-art tradition. It has not for the most part, however, been self-conscious about the normative implications of that orienting tradition. As a result, the achievements of recent philosophical discussions of music have been unnecessarily constricted. The way forward is to enrich the range of musical practices philosophy takes as its target of examination.
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  23.  47
    Wittgenstein on the Experience of Meaning and the Meaning of Music.Gilead Bar-Elli - 2006 - Philosophical Investigations 29 (3):217-249.
    An argument is presented to the effect that the ability to feel or to experience meaning conditions the ability to mean, and is thus essential to our notion of meaning. The experience of meaning is manifested in the "fine shades" of use and behavior. Theses, so obvious in music, constitute understanding music, which makes music understanding so relevant to understanding language. Applying these notions of understanding, feeling, and experience--as well as their explication in terms of comparisons, (...)
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  24.  11
    Non‐Conceptual Content and the Sound of Music.Michael Luntley - 2003 - Mind and Language 18 (4):402-426.
    : I present an argument for the existence of nonconceptual representational content. The argument is compatible with McDowell's defence of conceptualism against those arguments for nonconceptual content that draw upon claims about the fine‐grainedness of experience. I present a case for nonconceptual content that concentrates on the idea that experience can possess representational content that cannot perform the function of conceptual content, namely figure in the subject's reasons for belief and action. This sort of argument for nonconceptual content is (...)
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  25. Music, Indiscernible Counterparts, and Danto on Transfiguration.Theodore Gracyk - 2013 - Evental Aesthetics 2 (3):58-86.
    Arthur C. Danto’s The Transfiguration of the Commonplace is one of the most influential recent books on philosophy of art. It is noteworthy for both his method, which emphasizes indiscernible pairs and sets of objects, and his conclusion, which is that artworks are distinguished from non-artwork counterparts by a semantic and aesthetic transfiguration that depends on their relationship to art history. In numerous contexts, Danto has confirmed that the relevant concept of art is the concept of fine art. Examples (...)
     
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  26. Barthes, R. (1977). Image, Music, Text. (S. Heath, Ed.)The Journal of Aesthetics and Art Criticism (Vol. 37, P. 220). Hill and Wang. Doi:10.2307/429854Image, Music, Text. [REVIEW]Roland Barthes - 1977 - Journal of Aesthetics and Art Criticism 37 (2):235-236.
    Roland Barthes, the French critic and semiotician, was one of the most important critics and essayists of this century. His work continues to influence contemporary literary theory and cultural studies. Image-Music-Text collects Barthes's best writings on photography and the cinema, as well as fascinating articles on the relationship between images and sound. Two of Barthes's most important essays, "Introduction to the Structural Analysis of Narrative" and "The Death of the Author" are also included in this fine anthology, an (...)
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  27.  11
    Resisting Aesthetic Autonomy: A “Critical Philosophy” of Art and Music Education Advocacy.Thomas Adam Regelski - 2019 - Journal of Aesthetic Education 53 (2):79.
    Music teachers are often inclined to advocate the aesthetic value of music that is uncritically propagated by their conservatory training.1 Consequently, a host of misleading assumptions that music is a "fine" art that exists solely to promote aesthetic experience is simply taken for granted as the benefits of art and music education—thus ignoring the differences of purpose between school music and university-level training. Just offering routine musical activities and performances is thereby assumed to kindle (...)
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  28.  7
    Must We Choose Between Democracy and Music? On a Curious Silence in Tocqueville's Democracy in America.Damien Mahiet - 2014 - History of European Ideas 40 (3):1-21.
    ‘Among the fine arts, I clearly see something to say only about architecture, sculpture, painting. As for music, dance […], I see nothing’. Tocqueville's observation in the Rubish for the second volume of Democracy in America is not only startling, but theoretically important: it ratifies the liberal separation between musical life and political constitution. This, however, should give us cause to wonder. While in America, Tocqueville and Beaumont had multiple occasions to hear music in public festivals and (...)
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  29.  25
    Ineffabilities of Making Music: An Exploratory Study.Daniel A. Schmicking - 2006 - Journal of Phenomenological Psychology 37 (1):9-23.
    Some facets of making music are explored by combining arguments of Raffman's cognitivist explanation of ineffability with Merleau-Ponty's view of embodied perception. Behnke's approach to a phenomenology of playing a musical instrument serves as a further source. Focusing on the skilled performer-listener, several types of ineffable knowledge of performing music are identified: gesture feeling ineffability —the performer's sensorimotor knowledge of the gestures necessary to produce instrumental sounds is not exhaustively communicable via language; gesture nuance ineffability —the performer is (...)
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  30. Cult Music of Ancient Rus.L. V. Gurska - 2000 - Ukrainian Religious Studies 16:65-71.
    Ancient Rus church music is one of the brightest pages of spiritual and artistic culture. It is included in the synthesis of arts along with construction, monumental and fresco painting, icon painting, fine plastics, applied art, literature.
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  31. Batteux: The Fine Arts Reduced to a Single Principle.James O. Young - 2015 - Oxford University Press UK.
    The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the eighteenth century. It influenced every major aesthetician in the second half of the century, and is the work generally credited with establishing the modern system of the arts: poetry, painting, music, sculpture and dance. Batteux's book is also an invaluable aid to the interpretation of the arts of eighteenth century. And yet there has never been a (...)
     
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  32.  41
    The Sounds of the Ideal: Hegel’s Aesthetic of Music.Brian K. Etter - 1994 - The Owl of Minerva 26 (1):47-58.
    Hegel’s lectures on fine art, given in the 1820s, were published for the first time in 1835 and continued to influence thinking about aesthetics for the rest of the nineteenth century. After a long period of relative neglect in this century, when idealism in general fell into disfavor, Hegel’s Aesthetics has begun to awaken renewed interest. Appropriately, the larger questions of the relation of art, beauty, and truth have attracted the most attention. His treatment of musical aesthetics, on the (...)
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  33.  47
    Language, Music and Mind.Georges Rey - 1997 - Philosophical Review 106 (4):641.
    The central point of Raffman’s discussion is to distinguish the perception, knowledge, and effability of the standard chromatic “categorical” pitch events from what she calls “nuance” pitch events—events whose individuation is more fine-grained than C-events, and which seem to resist reliable, psychologically available categorization. Thus, two pitches a quarter-tone apart may be classified as the same C-event, even though they are different N-events. Experimental evidence suggests that whereas people are quite good at recall and discrimination of C-events, they are (...)
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  34. Aesthetics Lectures on Fine Art: Volume 1.G. W. F. Hegel (ed.) - 1998 - Oxford University Press UK.
    In his Aesthetics Hegel gives full expression to his seminal theory of art. He surveys the history of art from ancient India, Egypt, and Greece through to the Romantic movement of his own time, criticizes major works, and probes their meaning and significance; his rich array of examples gives broad scope for his judgement and makes vivid his exposition of his theory. The substantial Introduction is Hegel's best exposition of his general philosophy of art, and provides the ideal way into (...)
     
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  35.  24
    Musical Listening and the Fine Art of Engagement.Charles Morrison - 2007 - British Journal of Aesthetics 47 (4):401-415.
    When we listen to music, what do we listen to and for? How do we listen? How well do we listen and how do we listen well? This paper suggests that ‘modes of engagement’ are the active, operational means by which listeners experience music and that listening experiences more often than not involve multiple interacting modes rather than a fixed mode throughout. Modes of engagement may be voluntarily employed or involuntarily adopted; they may be technical or descriptive; they (...)
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  36.  5
    Istituzioni ritmiche e fine del tempo." Modo" e" neuma" nel canto gregoriano e in Olivier Messiaen.Marco Mazzolini - 2010 - Doctor Virtualis 10:177-191.
    Prendendo le mosse dall’esame del ciclo pianistico Quatre études de rythme, di Olivier Messiaen , scritto fra il 1949 e il 1950, l’articolo delinea un sintetico confronto fra due differenti espressioni dell’arte musicale. Da un lato una composizione della metà del Novecento: repertorio profano, strumentale, frutto di concezioni individuali, testimonianza della fase post-tonale del pensiero musicale. Dall’altro la monodia gregoriana: repertorio sacro, vocale, anonimo, che esprime concetti formali pre-tonali. Occasione di tale raffronto è l’indagine sulla portata concettuale e tecnica di (...)
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  37. Aesthetics Lectures on Fine Art: Volume 2.G. W. F. Hegel (ed.) - 1998 - Oxford University Press UK.
    In his Aesthetics Hegel gives full expression to his seminal theory of art. He surveys the history of art from ancient India, Egypt, and Greece through to the Romantic movement of his own time, criticizes major works, and probes their meaning and significance; his rich array of examples gives broad scope for his judgement and makes vivid his exposition of his theory. The substantial Introduction is Hegel's best exposition of his general philosophy of art, and provides the ideal way into (...)
     
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  38.  18
    Kant.Christel Fricke - 2010 - In Stefan Lorenz Sorgner & Oliver Fürbeth (eds.), Music in German Philosophy: An Introduction. University of Chicago Press.
    This chapter presents a short biography of Immanuel Kant. It then reviews his particular thoughts on musical philosophy. Kant was born on April 22, 1724 in Königsberg. He never married and died in his house on February 12, 1804. He placed the theory of cognition at the beginning of his critical transcendental philosophy, in Critique of Pure Reason. His theory of art was pointed toward identifying the place that the judgment of beautiful objects in nature and art occupies in his (...)
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  39. 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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  40. 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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  41. 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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  42. 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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  43. 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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  44.  65
    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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  45. 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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  46. 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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  47.  45
    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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  48.  31
    Music and Multimodal Mental Imagery.Bence Nanay - forthcoming - In Music and Mental Imagery. London: Routledge.
    Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery plays a crucial role in our engagement with (...)
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  49. Absence of Evidence and Evidence of Absence: Evidential Transitivity in Connection with Fossils, Fishing, Fine-Tuning, and Firing Squads.Elliott Sober - 2009 - Philosophical Studies 143 (1):63-90.
    “Absence of evidence isn’t evidence of absence” is a slogan that is popular among scientists and nonscientists alike. This article assesses its truth by using a probabilistic tool, the Law of Likelihood. Qualitative questions (“Is E evidence about H ?”) and quantitative questions (“How much evidence does E provide about H ?”) are both considered. The article discusses the example of fossil intermediates. If finding a fossil that is phenotypically intermediate between two extant species provides evidence that those species have (...)
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  50. 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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