Results for 'Music'

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Bibliography: Music in Arts and Humanities
Bibliography: Philosophy of Music in Aesthetics
Bibliography: Definition of Music in Aesthetics
Bibliography: Ontology of Music in Aesthetics
Bibliography: Musical Experience in Aesthetics
Bibliography: Varieties of Music in Aesthetics
Bibliography: Philosophy of Music, Misc in Aesthetics
Bibliography: Musical Ontology, Misc in Aesthetics
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  1.  2
    Infectious Music.Music-Listener Emotional Contagion - 2011 - In Amy Coplan & Peter Goldie (eds.), Empathy: Philosophical and Psychological Perspectives. Oxford, GB: Oxford University Press UK.
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  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. New York: 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. New York: Routledge.
     
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  4.  11
    Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja.Lejla Mušić - 2007 - Filozofska Istrazivanja 27 (1):213-234.
    Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju biti (...)
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  5.  9
    Mapping dreams in a computational space: A phrase-level model for analyzing Fight/Flight and other typical situations in dream reports.Maja Gutman Music, Pavan Holur & Kelly Bulkeley - 2022 - Consciousness and Cognition 106 (C):103428.
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  6.  25
    A systematic review of comorbidity in PTSD using eye tracking and MEG.Music Selma, Rossell Susan & Ciorciari Joseph - 2015 - Frontiers in Human Neuroscience 9.
  7.  21
    Effect of External Force on Agency in Physical Human-Machine Interaction.Satoshi Endo, Jakob Fröhner, Selma Musić, Sandra Hirche & Philipp Beckerle - 2020 - Frontiers in Human Neuroscience 14.
  8. What is sociological about music?William G. Roy, Timothy J. Dowd505 0 $A. I. I. Experience of Music: Ritual & Authenticity : - 2013 - In Sara Horsfall, Jan-Martijn Meij & Meghan D. Probstfield (eds.), Music sociology: examining the role of music in social life. Boulder, CO: Paradigm Publishers.
     
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  9. Reviewed by Peter Kaminsky.Engaging Music - 2006 - Theoria 13:127.
     
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  10.  21
    Associating Vehicles Automation With Drivers Functional State Assessment Systems: A Challenge for Road Safety in the Future.Christian Collet & Oren Musicant - 2019 - Frontiers in Human Neuroscience 13:408476.
    In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels of (...)
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  11.  7
    Philosophy of Art in the Thinking of Ananda Kentish Coomaraswamy.Lejla Mušić - 2007 - Filozofska Istrazivanja 27 (1):213-234.
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  12.  22
    The Scope Argument, MICHAEL O'ROURKE.Against Musical Ontology & Aaron Ridley - 2003 - Journal of Philosophy 100 (3).
  13. The Aesthetics of Music.Roger Scruton - 1997 - Oxford, GB: 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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  14. Works of music: an essay in ontology.Julian Dodd - 2007 - New York: 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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  15.  19
    Community Experiments in Public Health Law and Policy.Angela K. McGowan, Gretchen G. Musicant, Sharonda R. Williams & Virginia R. Niehaus - 2015 - Journal of Law, Medicine and Ethics 43 (S1):10-14.
    Community-level legal and policy innovations or “experiments” can be important levers to improve health. States and localities are empowered through the 10th Amendment of the United States Constitution to use their police powers to protect the health and welfare of the public. Many legal and policy tools are available, including: the power to tax and spend; regulation; mandated education or disclosure of information, modifying the environment — whether built or natural ; and indirect regulation. These legal and policy interventions can (...)
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  16. Tatjana Markovic.Serbian Music Romanticism - 2003 - In Eero Tarasti, Paul Forsell & Richard Littlefield (eds.), Musical semiotics revisited. Imatra: International Semiotics Institute. pp. 468.
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  17.  57
    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.
  18.  22
    Renaissance Music and Experimental Science.Stillman Drake - 1970 - Journal of the History of Ideas 31 (4):483.
  19.  22
    Music Listening Predicted Improved Life Satisfaction in University Students During Early Stages of the COVID-19 Pandemic.Amanda E. Krause, James Dimmock, Amanda L. Rebar & Ben Jackson - 2021 - Frontiers in Psychology 11.
    Quarantine and spatial distancing measures associated with COVID-19 resulted in substantial changes to individuals’ everyday lives. Prominent among these lifestyle changes was the way in which people interacted with media—including music listening. In this repeated assessment study, we assessed Australian university students’ media use throughout early stages of the COVID-19 pandemic in Australia, and determined whether media use was related to changes in life satisfaction. Participants were asked to complete six online questionnaires, capturing pre- and during-pandemic experiences. The results (...)
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  20.  25
    A Joint Prosodic Origin of Language and Music.Steven Brown - 2017 - Frontiers in Psychology 8:288686.
    Vocal theories of the origin of language rarely make a case for the precursor functions that underlay the evolution of speech. The vocal expression of emotion is unquestionably the best candidate for such a precursor, although most evolutionary models of both language and speech ignore emotion and prosody altogether. I present here a model for a joint prosodic precursor of language and music in which ritualized group-level vocalizations served as the ancestral state. This precursor combined not only affective and (...)
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  21.  27
    Origins of music in credible signaling.Samuel A. Mehr, Max M. Krasnow, Gregory A. Bryant & Edward H. Hagen - 2021 - Behavioral and Brain Sciences 44:e60.
    Music comprises a diverse category of cognitive phenomena that likely represent both the effects of psychological adaptations that are specific to music (e.g., rhythmic entrainment) and the effects of adaptations for non-musical functions (e.g., auditory scene analysis). How did music evolve? Here, we show that prevailing views on the evolution of music – that music is a byproduct of other evolved faculties, evolved for social bonding, or evolved to signal mate quality – are incomplete or (...)
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  22.  83
    Chamber music in the twentieth century: Cultural and compositional crisis of a genre.Bojan Bujic - 1982 - British Journal of Aesthetics 22 (2):115-125.
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  23.  8
    Music recognition.Diana Deutsch - 1969 - Psychological Review 76 (3):300-307.
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  24. Music and the Emotions.Paul Boghossian - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. New York: Oxford University Press UK. pp. 117.
     
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  25.  16
    Music as an intervention for children with learning difficulties: systematic literature.Thaciana Araujo da Silva, Lilia Iêda Chaves Cavalcante & Ana Emília Vita Carvalho - 2023 - Aletheia 56 (2):143-157.
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  26.  67
    Music and “seeking one’s heart-mind” in the “Xing Zi Ming Chu”.Erica F. Brindley - 2006 - Dao: A Journal of Comparative Philosophy 5 (2):247-255.
  27.  13
    Music as an open creation. On the identity of musical composition.J. Jusiak - 2008 - Kwartalnik Filozoficzny 36 (2):179-200.
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  28. Music Percept. 17, 151 (1999); CL Krumhansl et al.C. L. Krumhansl - 2000 - Cognition 75:13.
     
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  29. Music and Literature: The Institutional Dimensions.John Neubauer - 1992 - In Steven P. Scher (ed.), Music and text: critical inquiries. New York: Cambridge University Press. pp. 3--20.
     
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  30.  33
    Music and pure thought: Outline of a study.Christopher C. Norris - 1975 - British Journal of Aesthetics 15 (1):50-58.
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  31.  24
    ‘Darker than the Dungeon’: Music, Ambivalence, and the Carceral Subject.Chris Waller - 2018 - International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 31 (2):275-299.
    Music’s sanctioned role in the day-to-day running of the ‘late-modern’ prison is to ensure wellbeing and compliance of prisoners, with most regimes facilitating access to music through the form of radios, cd’s, and cassette players. As a result, music often comes tied to judgements by the regime about prisoners’ conduct, with incentive systems allowing the regime to confiscate earned possessions under certain conditions. In this way, the role of music in prison is often continuous with the (...)
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  32. Unmeasured Music and Silence.Ian Bedford - 2015 - In Kalpana Ram & Christopher Houston (eds.), Phenomenology in Anthropology: A Sense of Perspective. Bloomington, Indiana: Indiana University Press.
     
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  33. Popular music.John Andrew Fisher - 2011 - In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. New York: Routledge.
     
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  34. 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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  35.  67
    Music, education, and the emotions.David E. Cooper - 2009 - Journal of Chinese Philosophy 36 (4):642-652.
  36.  3
    Interactive music systems: Machine listening and composing.Eliot Handelman - 1995 - Artificial Intelligence 79 (2):349-359.
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  37.  19
    Music of the Spheres.Edward F. Mooney - 1992 - International Philosophical Quarterly 32 (3):345-361.
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  38.  12
    Music and Image in Classical Athens.John G. Younger - 2007 - Classical World: A Quarterly Journal on Antiquity 100 (4):462-463.
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  39.  19
    The beautiful in music.Eduard Hanslick - 1891 - New York: Da Capo Press.
    This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...)
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  40.  10
    Math and Music: Slow and Not For Profit.Kathleen Coessens, Karen François & Jean Paul Van Bendegem - 2018 - In Paul Smeyers & Marc Depaepe (eds.), Educational Research: Ethics, Social Justice, and Funding Dynamics. Springer Verlag. pp. 73-90.
    This chapter looks at the impact of recent societal approaches of knowledge and science from the perspectives of two rather distant educational domains, mathematics and music. Science’s attempt at ‘self-understanding’ has led to a set of control mechanisms, either generating ‘closure’—the scientists’ non-involvement in society—or ‘economisation’, producing patents and other lucrative benefits. While scientometrics became the tool and the rule for measuring the economic impact of science, counter movements, like the slow science movement, citizen science, empowering music-art initiatives (...)
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  41.  82
    Music, Art, and Metaphysics: Essays in Philosophical Aesthetics.Alan H. Goldman - 1992 - Journal of Aesthetics and Art Criticism 50 (4):327-329.
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  42.  10
    Music and antimetaphor (to Eero Tarasti).Daniel Charles - 1995 - In Eero Tarasti (ed.), Musical signification: essays in the semiotic theory and analysis of music. New York: Mouton de Gruyter. pp. 121--27.
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  43.  30
    Two Debates about Absolute Music.Hannah Ginsborg - 2017 - British Journal of Aesthetics 57 (1):77-80.
    Mark Evan Bonds makes a distinction between two concepts of absolute music: as repertory, and as ‘regulative concept’. This paper explores the distinction, and distinguishes further two debates associated with these two concepts: one about the value of absolute music in the repertory sense, the other about the extent to which music is ‘absolute’ in the sense of lacking expressive or representational content. It ends with a proposal about how reflection on the first debate can help provide (...)
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  44. Music and electro-sonic art.Gordon Graham - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. New York: Oxford University Press UK.
     
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  45.  34
    Music-to-listener emotional contagion.Stephen Davies - 2013 - In Tom Cochrane, Bernardino Fantini & Klaus R. Scherer (eds.), The Emotional Power of Music: Multidisciplinary perspectives on musical arousal, expression, and social control. Oxford University Press. pp. 169.
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  46.  23
    Music in Research and Rehabilitation of Disorders of Consciousness: Psychological and Neurophysiological Foundations.Boris Kotchoubey, Yuri G. Pavlov & Boris Kleber - 2015 - Frontiers in Psychology 6.
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  47. Experimental Ontology of Music.Elzė Sigutė Mikalonytė - manuscript
    This chapter focuses on the methodological challenges and practical implications of the experimental ontology of music. It offers an overview of the existing research, primarily focusing on how people judge whether two musical performances are of one and the same or two distinct musical works, followed by a discussion of the current methodological debates in this field and, finally, an exploration of its potential legal implications.
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  48.  11
    Music as a form of expression of national identity: social-philosophical aspect.O. Parfenova - 2015 - Journal of Philosophical Researchжурнал Философских Исследований 1 (4):5-5.
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  49. Moved by Music Alone.Tom Cochrane - 2021 - British Journal of Aesthetics 61 (4):455-470.
    In this paper I present an account of musical arousal that takes into account key demands of formalist philosophers such as Peter Kivy and Nick Zangwill. Formalists prioritise our understanding and appreciation of the music itself. As a result, they demand that any feelings we have in response to music must be directed at the music alone, without being distracted by non-musical associations. To accommodate these requirements I appeal to a mechanism of contagion which I synthesize with (...)
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  50.  4
    A theology of music.Alfred John Pike - 1953 - Toledo, Ohio: Gregorian Institute of America.
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