Results for 'Fine Music'

910 found
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  1.  61
    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.  12
    The Aesthetics of Enchantment in the Fine Arts.Marlies Kronegger, Anna-Teresa Tymieniecka & Fine Arts Aesthetics American Society for Phenomenology - 2000 - Springer Verlag.
    Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...)
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  3.  13
    Making myself understood: perceived factors affecting the intelligibility of sung text.Philip A. Fine & Jane Ginsborg - 2014 - Frontiers in Psychology 5:81825.
    Singing is universal, and understanding sung words is thought to be important for many listeners’ enjoyment of vocal and choral music. However, this is not a trivial task, and sung text intelligibility is probably affected by many factors. A survey of musicians was undertaken to identify the factors believed to have most impact on intelligibility, and to assess the importance of understanding sung words in familiar and unfamiliar languages. A total of 143 professional and amateur musicians, including singers, singing (...)
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  4. The fine art of repetition: essays in the philosophy of music.Peter Kivy - 1993 - New York: 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 (...)
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  5.  58
    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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  6.  37
    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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  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.Dejan Despić & Melita Milin (eds.) - 2008 - Beograd: Muzikološki institut SANU.
     
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  8. Where Does Music End and Nonmusic Begin? Fine-tuning the “Naturalist Response” Problem for Nontonal Music’s Naturalistic Critics.Lantz Fleming Miller - 2022 - Journal of Comparative Literature and Aesthetics 45 (1):354-368.
    As to what distinguishes music from other sound, some investigators in both philosophy and cognitive scientists have answered “tonality.” It seems subservient even to rhythm. Tonality is considered to be the central factor around which the piece is oriented; it gives a sense of home, expectation, and completeness. Most important, much of this inquiry builds on naturalistic, evolutionary explanation to account for human nature and behavior. The conclusion of such line of thought is that sounds missing tonality or tonal (...)
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  9. 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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  10.  23
    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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  11. Music and Vague Existence.David Friedell - 2017 - Res Philosophica 94 (4):437-449.
    I explain a tension between musical creationism (the view that musical works are abstract artifacts) 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 (...)
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  12.  6
    Allegory Old and New: In Literature, the Fine Arts, Music and Theatre, and Its Continuity in Culture.M. Kronegger & Anna-Teresa Tymieniecka - 1994 - Springer.
    Bringing allegory into the light from the neglect into which it fell means focusing on the wondrous heights of the human spirit in its significance for culture. Contemporary philosophies and literary theories, which give pre-eminence to primary linguistics forms (symbol and metaphor), seem to favor just that which makes intelligible communication possible. But they fall short in accounting for the deepest subliminal founts that prompt the mind to exalt in beauty, virtue, transcending aspiration. The present, rich collection shows how allegory, (...)
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  13.  13
    How Musical Rhythm Reveals Human Attitudes.Gustav Becking - 2011 - Lang. Edited by Nigel Nettheim.
    What is the broadest significance of musical rhythm? Human attitudes to the world are reflected in it, according to Gustav Becking. Writing in the 1920s, Becking proposed a novel method of finding systematic differences of attitude between individual composers, between nations, and between historical time periods. He dealt throughout with Western classical music, from the period approximately 1600-1900. His method was to observe in fine detail the pattern of motion and pressure traced out by a small baton allowed (...)
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  14. 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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  15.  16
    (1 other version)Gardens, Music, and Time.Ismay Barwell & John Powell - 2010-09-24 - In Fritz Allhoff & Dan O'Brien (eds.), Gardening ‐ Philosophy for Everyone. Wiley‐Blackwell. pp. 136–147.
    This chapter contains sections titled: Change and the Arts Time and the Arts Time and Change in Gardens Music Makes the Passage of Time Audible Gardens Make the Passage of Time Visible Notes.
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  16.  27
    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.
  17.  60
    Music on Deaf Ears: Musical Meaning, Ideology, Education.Lucy Green - 2008 - Abramis.
    "Hooray! Professor Lucy Green's classic text is now available, in its second edition, to a new generation. The first edition contributed to the development of a new field, the sociology of music education. But the argument is of wider interest, and has been useful to me in better understanding the mechanics of the professional life as applicable to the working player." Robert Fripp, King Crimson RESPONSES TO THE FIRST EDITION OF MUSIC ON DEAF EARS: "This is a (...) book indeed. The clarity of mind shining through the text is apparent, and the concern with music, musical experience and the development of children in our schools is self-evident.. Musicians and educators would do well to reflect upon these ideas and the inherent challenges to our comfortable but essentially problematic ways of thinking about and responding to music." Keith Swanwick, Music and Letters "The argument, necessarily simplified here, is powerfully and cogently made. It not only impinges on educational practice but is one of the best general discussions of musical meaning and ideology I have read." Richard Middleton, Popular Music "This analysis has considerable explanatory power, especially in regard to the response of school pupils to various musical styles.. I recommend this interesting and uncomfortable book not just to music teachers but to all those musicians and music lovers who think at all about the nature of their art." Christopher Small, British Journal of Music Education. (shrink)
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  18.  15
    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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  19.  16
    Aesthetic Inquiry and the Music of Africa.Kofi Agawu - 2004 - In Kwasi Wiredu (ed.), A Companion to African Philosophy. Malden, MA: Wiley-Blackwell. pp. 404–414.
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  20.  19
    Music and modernism, c. 1849-1950.Charlotte De Mille (ed.) - 2011 - Newcastle upon Tyne, UK: Cambridge Scholars Press.
    A collection of essays which reevaluates the significant connections between the disciplines of music, fine art and architecture in the period covering the emergence and flowering of modernism, c. 1849-1950.
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  21. 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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  22.  68
    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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  23.  25
    Kant’s “Theory of Music”.Oliver Thorndike - 2021 - Con-Textos Kantianos 14:416-438.
    One thing to expect from a theory of absolute music is that it explains what makes it so significant to us. Kant rightly observes that the essence of absolute music is our affective response to it. Yet none of the standard 18 th century theories, arousal theory and aesthetic rationalism, can explain both the universality of a judgment of taste and its subjective emotional content. The paper argues that Kant’s own aesthetic theory of aesthetic ideas is on the (...)
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  24. Why didn’t Kant think highly of music?Emine Hande Tuna - 2018 - In Violetta L. Waibel, Margit Ruffing & David Wagner (eds.), Natur und Freiheit: Akten des XII. Internationalen Kant-Kongresses. 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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  25.  21
    Batteux: The Fine Arts Reduced to a Single Principle.James O. Young - 2015 - New York, NY: Oxford University Press UK. Edited by James O. Young.
    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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  26.  9
    Storytelling in jazz and musicality in theatre: through the mirror.Sven Bjerstedt - 2021 - New York: Routledge.
    Art forms tend to mirror themselves in each other. In order to understand literature and fine arts better, we often turn to music, speaking of the 'tone' in a book and of the 'rhythm' in a painting. In attempts to understand music better, we turn instead to the narrative arts, speaking of the 'story' of a musical piece. This book focuses on two examples of such conceptual mirror reflexivity: narrativity in jazz music and musicality in spoken (...)
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  27. Fine individuation.Carl Matheson & Ben Caplan - 2007 - British Journal of Aesthetics 47 (2):113-137.
    Jerrold Levinson argues that musical works are individuated by their context of origin. But one could just as well argue that musical works are individuated by their context of reception. Moderate contextualism, according to which musical works are individuated by context of origin but not by context of reception, thus appears to be an unstable position. And, although a more thoroughgoing contextualism, according to which musical works are individuated both by context of origin and by context of reception, faces a (...)
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  28.  25
    Music Education and Law: Regulation as an Instrument.Marja Heimonen - 2003 - Philosophy of Music Education Review 11 (2):170-184.
    In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 170-184 [Access article in PDF] Music Education and LawRegulation as an Instrument Marja Heimonen Sibelius Academy, Helsinki, Finland Introduction Of all the fine arts, music has the greatest influence on passions; it is that which the law-giver must encourage most: a piece of music written by a master inevitably touches the feelings and has more influence on (...)
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  29. 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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  30. 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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  31. Music, mind, and morality: Arousing the body politic.Philip Alperson & Noël Carroll - 2008 - Journal of Aesthetic Education 42 (1):1-15.
    In lieu of an abstract, here is a brief excerpt of the content:Music, Mind, and Morality:Arousing the Body PoliticPhilip Alperson (bio) and Noël Carroll (bio)I. IntroductionIf like Aristotle one agrees that the responsibility of philosophy is to offer as comprehensive a picture of phenomena as possible, then one must admit that sometimes the methods and goals of analytic philosophy stand in the way of getting the job done properly; they may even distort one's findings. This is not said in (...)
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  32. Teaching & learning guide for: Musical works: Ontology and meta-ontology.Julian Dodd - 2009 - Philosophy Compass 4 (6):1044-1048.
    A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an (...)
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  33.  47
    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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  34. Harmonia, Melos and Rhytmos. Aristotle on Musical Education.Elena Cagnoli Fiecconi - 2016 - Ancient Philosophy 36 (2):409-424.
    In this paper, I reconstruct the reasons why Aristotle thinks that musical education is important for moral education. Musical education teaches us to enjoy appropriately and to recognize perceptually fine melodies and rhythms. Fine melodies and rhythms are similar to the kind of movements fine actions consist in and fine characters display. By teaching us to enjoy and recognise fine melodies and rhythms, musical education can train us to recognize and to take pleasure in (...) actions and characters. Thus, musical education can, up to a point, lead us toward the actions and character dispositions a virtuous life requires. (shrink)
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  35. 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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  36.  42
    How to Resist Musical Dogmatism: The Aim and Methods of Pyrrhonian Inquiry in Sextus Empiricus' Against the Musicologists (Math. 6).Mate Veres - 2020 - In Francesco Pelosi & Federico M. Petrucci (eds.), Music and Philosophy in the Roman Empire. Cambridge University Press. pp. 108-130.
    In Against the Musicologists (Math. 6), Sextus uses two types of arguments against musicology. Some would argue that a science of music – does not contribute to a happy life, while others deny that such a science has ever been established. Since the respective beliefs that musicology exists and that it benefits those who have mastered it are fine specimens of dogmatism, all Sextus has to do is to set the naysayers and the believers against each other in (...)
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  37.  15
    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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  38.  41
    (1 other version)Resisting Aesthetic Autonomy: A “Critical Philosophy” of Art and Music Education Advocacy.Thomas Adam Regelski - 2019 - Journal of Aesthetic Education 53 (2):79-101.
    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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  39.  24
    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):360-380.
    Summary‘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 (and nowadays oft-assumed) 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 (...)
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  40.  20
    Cognitive, Motor and Social Factors of Music Instrument Training Programs for Older Adults’ Improved Wellbeing.Jennifer MacRitchie, Matthew Breaden, Andrew J. Milne & Sarah McIntyre - 2020 - Frontiers in Psychology 10.
    Given emerging evidence that learning to play a musical instrument may lead to a number of cognitive benefits for older adults, it is important to clarify how these training programs can be delivered optimally and meaningfully. The effective acquisition of musical and domain-general skills by later-life learners may be influenced by social, cultural and individual factors within the learning environment. The current study examines the effects of a 10-week piano training program on healthy older adult novices’ cognitive and motor skills, (...)
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  41. Hanslick's Formalism as the Beginning of Contemporary Aesthetics of Music.Sanja Sreckovic - 2021 - Kritika 2 (2):299-314.
    The article presents Hanslick’s aesthetic formalism as the starting point of the contemporary aesthetics of music. His book, written in the 19th century, is considered contemporary because it still proves to be influential and fruitful in the contemporary theoretical circles, especially in the modern analytic aesthetics of music, where it is widely cited and discussed. The article positions Hanslick’s book in relation to his nearest predecessors Kant and Herbart, and to the neighbouring area where the formalistic view appeared, (...)
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  42.  38
    (2 other versions)Aesthetics Lectures on Fine Art: Volume 1.Georg Wilhelm Friedrich Hegel (ed.) - 1975 - 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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  43.  84
    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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  44.  24
    Response to Alexandra Kertz-Welzel's “Two Souls, Alas, Reside within My Breast”: Reflections on German and American Music Education Regarding the Internationalization of Music Education.Leonard Tan - 2015 - Philosophy of Music Education Review 23 (1):113.
    In lieu of an abstract, here is a brief excerpt of the content:Response to Alexandra Kertz-Welzel’s “Two Souls, Alas, Reside within My Breast”: Reflections on German and American Music Education Regarding the Internationalization of Music EducationPhilosophy of Music Education Review, 21, no.1 (Spring 2013): 52–65Leonard TanAs a Singaporean who, like Kertz-Welzel, spent four years residing in the United States, I read the article with great interest. Born to traditional Chinese parents, I was raised steeped in Confucian values, (...)
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  45.  18
    A hybrid learning framework for fine-grained interpretation of brain spatiotemporal patterns during naturalistic functional magnetic resonance imaging.Sigang Yu, Enze Shi, Ruoyang Wang, Shijie Zhao, Tianming Liu, Xi Jiang & Shu Zhang - 2022 - Frontiers in Human Neuroscience 16:944543.
    Naturalistic stimuli, including movie, music, and speech, have been increasingly applied in the research of neuroimaging. Relative to a resting-state or single-task state, naturalistic stimuli can evoke more intense brain activities and have been proved to possess higher test–retest reliability, suggesting greater potential to study adaptive human brain function. In the current research, naturalistic functional magnetic resonance imaging (N-fMRI) has been a powerful tool to record brain states under naturalistic stimuli, and many efforts have been devoted to study the (...)
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  46.  17
    Motivos de la Antigüedad clásica en el Impresionismo musical.Beatriz Cotello - 2017 - Circe de Clásicos y Modernos 21 (1):1-14.
    El Impresionismo fue una tendencia que se desarrolló en la cultura europea de fines del siglo XIX. La música no fue ajena a esa expresión cultural, con sus modos tan apropiados para manifestar lo etéreo y evanescente. En este artículo nos detendremos en tres exponentes del impresionismo en la música: Claude Debussy, Eric Satie y Maurice Ravel, y en sus temas tomados de la antigüedad clásica: El Après midi d’un faune de Debussy, las Gimnopédies, Gnossiennes y el Socrate de Satie (...)
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  47.  8
    The sweet spot between predictability and surprise: musical groove in brain, body, and social interactions.Jan Stupacher, Tomas Edward Matthews, Victor Pando-Naude, Olivia Foster Vander Elst & Peter Vuust - 2022 - Frontiers in Psychology 13.
    Groove—defined as the pleasurable urge to move to a rhythm—depends on a fine-tuned interplay between predictability arising from repetitive rhythmic patterns, and surprise arising from rhythmic deviations, for example in the form of syncopation. The perfect balance between predictability and surprise is commonly found in rhythmic patterns with a moderate level of rhythmic complexity and represents the sweet spot of the groove experience. In contrast, rhythms with low or high complexity are usually associated with a weaker experience of groove (...)
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  48. (1 other version)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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  49.  55
    Response to June Boyce-Tillman, "Towards an Ecology of Music Education".Claudia Gluschankof - 2004 - Philosophy of Music Education Review 12 (2):181-186.
    In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.2 (2004) 181-186 [Access article in PDF] Response to June Boyce-Tillman, "Towards an Ecology of Music Education" Claudia Gluschankof Levinsky College of Education, Israel I begin with two confessions. First, music was not my favorite class at school. I cannot even recall what we did there. It did not at all connect with the powerful, meaningful place that music had (...)
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    The Doing of Philosophy in the Music Class: Some Practical Considerations. Response to Bennett Reimer.Mary Josephine Reichling - 2005 - Philosophy of Music Education Review 13 (2):142-145.
    In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.2 (2005) 142-145 [Access article in PDF] The Doing of Philosophy in the Music Class: Some Practical Considerations. Response to Bennett Reimer Mary J. Reichling University of Louisiana at Lafayette How I respond to Bennett Reimer's challenge depends in part on how we define philosophy in this context. We might think of philosophy as a subject of study, that is, philosophy in (...)
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