Results for 'Music Philosophy and aesthetics'

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  1.  62
    Understanding Music: Philosophy and Interpretation.Roger Scruton - 2009 - Continuum.
    Following his celebrated book The Aesthetics of Music, Scruton explores the fundamental elements that constitute a great piece of music.
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  2.  5
    Music Cognition and Aesthetic Attitudes.Harold E. Fiske - 1993 - E. Mellen Press.
    This study develops a theory about the interaction between music cognition and affective response. The theory demonstrates how musical thinking, knowledge, and decision-making result in qualitative musical behaviour. It reports new findings about the cognitive representation of musical structures, imagery as an auditory-phenomenological descriptor of music, aesthetic response as an outcome of specific cognitive decisions, and the value of music in cross-cultural human development. Each of the seven essays identifies a problem in music psychology that is (...)
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  3. Music, Philosophy, and Modernity.Andrew Bowie - 2007 - Cambridge University Press.
    Modern philosophers generally assume that music is a problem to which philosophy ought to offer an answer. Andrew Bowie’s Music, Philosophy, and Modernity suggests, in contrast, that music might offer ways of responding to some central questions in modern philosophy. Bowie looks at key philosophical approaches to music ranging from Kant, through the German Romantics and Wagner, to Wittgenstein, Heidegger and Adorno. He uses music to re-examine many current ideas about language, subjectivity, (...)
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  4. Music, Art, and Metaphysics.Jerrold Levinson - 2011 - Oxford University Press.
    This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.
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  5. Music and Aesthetic Reality: Formalism and the Limits of Description.Nick Zangwill - 2014 - Routledge.
    In this volume, Zangwill develops a view of the nature of music and our experience of music that foregrounds the aesthetic properties of music. He focuses on metaphysical issues about aesthetic properties of music, psychological issues about the nature of musical experience, and philosophy of language issues about the metaphorical nature of aesthetic descriptions of music. Among the innovations of this book, Zangwill addresses the limits of literal description, generally, and in the aesthetic case. (...)
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  6.  69
    Musical Understandings: And Other Essays on the Philosophy of Music.Stephen Davies - 2011 - New York;Oxford University Press.
    In this chapter, I discuss the kinds of understanding expected of and evinced by skilled listeners, performers, analysts, and composers. I confine the discussion to Western, purely instrumental music, mainly with the classical tradition in mind.[1] And I refer primarily to the Anglophone literature of "analytic" philosophy of music. As will become apparent, my concern is with an analysis that maps what are meant to be familiar aspects of musical experience. I investigate the various understandings expected of (...)
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  7.  70
    The Philosophy of Music: Theme and Variations.Aaron Ridley - unknown - Edinburgh University Press.
    New and distinctive approaches to five central topics in musical aesthetics are provided in this outstanding book. The topics are: understanding, representation, expression, performance and profundity.
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  8.  92
    Music, Language, and Cognition: And Other Essays in the Aesthetics of Music.Peter Kivy - 2007 - Oxford University Press.
    I. History. Mainwaring's Handel : its relation to British aesthetics -- Herbert Spencer and a musical dispute -- II. Opera and film. Handel's operas : the form of feeling and the problem of appreciation -- Anti-semitism in Meistersinger? -- Speech, song, and the transparency of medium : on operatic metaphysics -- III. Performance. On the historically informed performance -- Ars perfecta : toward perfection in musical performance? -- IV. Interpretation. Another go at the meaning of music : Koopman, (...)
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  9. The Routledge Companion to Philosophy and Music.Theodore Gracyk & Andrew Kania (eds.) - 2011 - Routledge.
    _The Routledge Companion to Philosophy and Music_ is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of music music, philosophy and related disciplines _The Routledge Companion to Philosophy and Music_ is essential reading for anyone interested in philosophy, music and musicology.
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  10.  6
    Music, Philosophy, and Modernity.G. Dammann - 2008 - British Journal of Aesthetics 48 (4):459-461.
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  11. Musical Meaning and Expression.Stephen Davies - 1994 - Cornell University Press.
    But what does music mean, and how does it mean?Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in ...
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  12.  22
    Philosophy and the Analysis of Music: Bridges to Musical Sound, Form, and Reference.Lawrence Ferrara - 1991 - Greenwood Press.
    A musical experience is marked by the synthesis of passion and rationality, emotion and understanding, and body and mind. Ferrara demonstrates that each method of musical analysis confines musical significance to a single level. He devises an "eclectic method" that provides bridges for musical sound, form, and reference. In response to the multiplicity of levels of musical significance Ferrara's eclectic method draws upon a wide-ranging number of conventional and nonconventional approaches to musical analysis which results in a dialectic of methods.
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  13. Musical Works and Performances: A Philosophical Exploration.Stephen Davies - 2001 - Oxford University Press.
    What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, and (...)
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  14.  1
    Music and Aesthetic Reality: Formalism and the Limits of Description.Nick Zangwill - 2015 - Routledge.
    In this volume, Zangwill develops a view of the nature of music and our experience of music that foregrounds the aesthetic properties of music. He focuses on metaphysical issues about aesthetic properties of music, psychological issues about the nature of musical experience, and philosophy of language issues about the metaphorical nature of aesthetic descriptions of music. Among the innovations of this book, Zangwill addresses the limits of literal description, generally, and in the aesthetic case. (...)
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  15. The Philosophy of Art and Aesthetics, Psychology, and Neuroscience: Studies in Literature, Music, and Visual Arts.Noel Carroll, Margaret Moore & William Seeley - 2012 - In Arthur P. Shimamura & Stephen E. Palmer (eds.), Aesthetic Science: Connecting Minds, Brains, and Experience. New York, NY, USA: pp. 31-62.
  16.  11
    Musical Aphorisms and Common Aesthetic Quandaries.Yaroslav Senyshyn - 2003 - Philosophy of Music Education Review 11 (2):112-129.
  17.  64
    Music, Imagination, and Culture.Nicholas Cook - 1990 - Oxford University Press.
    Drawing on psychological and philosophical materials as well as the analysis of specific musical examples, Cook here defines the difference between music...
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  18.  19
    Musical Aphorisms and Common Aesthetic Quandaries.Yaroslav Senyshyn - 2003 - Philosophy of Music Education Review 11 (2):112-129.
  19.  47
    Music, Value, and the Passions.Aaron Ridley - 1995 - Cornell University Press.
    For a century there has been a divergence between what music theorists say music is about and what the ordinary listener actually experiences. Music theory has insisted on a separation of musical experience from the experience of emotions, from the passions. Yet a passionate experience of music is just what most ordinary listeners have. Charting a new course through the minefield of contemporary philosophy of music, Aaron Ridley provides a coherent defense of the ordinary (...)
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  20. 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, (...)
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  21.  9
    Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries.John Morreall - 1984 - Philosophical Studies (Dublin) 30:328-329.
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  22.  71
    Analytical Philosophy and the Meaning of Music.Roger Scruton - 1987 - Journal of Aesthetics and Art Criticism 46:169-176.
  23.  1
    Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries. [REVIEW]John Morreall - 1984 - Philosophical Studies (Dublin) 30:328-329.
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  24. Deleuze on Music, Painting and the Arts.Ronald Bogue - 2003 - Routledge.
    Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as a whole. Deleuze on Music, Painting and the Arts breaks new ground in the scholarship on Deleuze's aesthetics, while providing a clear and accessible guide to his often overlooked writings in the fields of music and painting.
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  25.  2
    Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer.Bruce W. Holsinger - 2001 - Stanford University Press.
    Ranging chronologically from the twelfth to the fifteenth century and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, from the musicality of sodomy in twelfth-century polyphony to Chaucer's representation of pedagogical violence in the Prioress's Tale, from early Christian writings on the music of the body to the plainchant and poetry of Hildegard of Bingen, the (...)
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  26. Hindustani Sangeet and a Philosopher of Art: Music, Rhythm, and Kathak Dance Vis-À-Vis Aesthetics of Susanne K. Langer.Sushil Kumar Saxena - 2001 - D.K. Printworld.
    The Book Seeks To Weigh Some Basic Facts And Concepts Of Hindustani Sangeet (Music, Rhythm And Kathak Dance) Against The Art Theories Of Susanne K. Langer, An Eminent Aesthetician Of The Recent Past, Incorporating Numerous Illustrative References To Hindustani Sangeet.
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  27. Music, Tendencies, and Inhibitions: Reflections on a Theory of Leonard Meyer.Renee Cox Lorraine - 2001 - Scarecrow Press.
    Leonard B. Meyer has proposed that when musical tendencies or expectations are inhibited by musical ambiguity or the unexpected, those inhibitions and their subsequent resolutions are likely to be provocative or engaging. Music, Tendencies and Inhibitions will explore the relevance of this theory to music and various other disciplines, and to psychological and natural processes. Each chapter consists of two parts: a presentation and consideration of an aspect of Meyer's theory, and a more associative or rhapsodic section of (...)
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  28.  25
    The Quest for Voice: Music, Politics, and the Limits of Philosophy.Lydia Goehr - 2002 - Oxford University Press.
    Concentrating on the music, politics, and philosophy of Richard Wagner, Lydia Goehr addresses some fundamental questions of German Romanticism: Is all music musical? Is music made less musical by the presence of words? What is musical autonomy? How do composers avoid censorship? How are composers affected by exile? Can music articulate a 'politics for the future'? What is the relation between music and philosophy?
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  29.  50
    Nick Zangwill, Music and Aesthetic Reality: Formalism and the Limits of Description. Reviewed By. [REVIEW]Christopher Bartel - 2016 - Philosophy in Review 36 (1):42-43.
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  30. Three Ages of Musical Thought: Essays on Ethics and Aesthetics.Eric Werner - 1941 - Da Capo Press.
  31.  2
    Music Theory and Natural Order From the Renaissance to the Early Twentieth Century.Suzannah Clark & Alexander Rehding (eds.) - 2005 - Cambridge University Press.
    Music theorists of almost all ages employ a concept of "Nature" to justify observations or statements about music. The understanding of what "Nature" is, however, is subject to cultural and historical differences. In tracing these explanatory strategies and their changes in music theories between c. 1600 and 1900, these essays explore (for the first time in a book-length study) how the multifarious conceptions of nature, located variously between scientific reason and divine power, are brought to bear on (...)
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  32. Silence And Music: Questions About Aesthetics.Jana Mohr Lone - 2010 - Childhood and Philosophy 6 (11):127-136.
    This article describes a philosophy session with ten-year-old students centered around aesthetics, and in particular on questions about the meaning of music. The students explore the nature of music and art, including questions about what makes something music, artist intention, and the relation of art and the expression of emotion. The session involves a performance of John Cage’s work 4’ 33” and the way in which the performance can inspire a conversation with young people about (...)
     
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  33.  2
    Formalized Music: Thought and Mathematics in Composition.Iannis Xenakis - 1971 - Bloomington: Indiana University Press.
    Pendragon Press is proud to offer this new, revised, and expanded edition of Formalized Music, Iannis Xenakis's landmark book of 1971. In addition to three totally new chapters examining recent breakthroughs in music theory, two original computer programs illustrating the actual realization of newly proposed methods of composition, and an appendix of the very latest developments of stochastic synthesis as an invitation to future exploration, Xenakis offers a very critical self-examination of his theoretical propositions and artistic output of (...)
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  34.  64
    Embodied Meaning and Aesthetic Experience: Mark Johnson, The Meaning of the Body. Aesthetics of Human Understanding. Chicago. University of Chicago Press, 2007. 276p, 2 Color Plates, 1 Halftone, 2 Line Drawings, 4 Figures, 6 Musical Examples. Cloth $32; ₤20 ISBN 0-226-40192-8.Richard Marc Shusterman - 2009 - Phenomenology and the Cognitive Sciences 8 (2):261-265.
  35.  19
    Musical Understandings and Other Essays on the Philosophy of Music by Davies, Stephen.Erkki Huovinen - 2012 - Journal of Aesthetics and Art Criticism 70 (3):315-317.
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  36.  5
    Music, Mysticism, and Magic: A Sourcebook.Joscelyn Godwin - 1987 - Arkana.
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  37.  92
    The Quest for Voice: On Music, Politics, and the Limits of Philosophy: The 1997 Ernest Bloch Lectures.Lydia Goehr - 1998 - Oxford University Press.
    Concentrating on the music, politics, and philosophy of Richard Wagner, Lydia Goehr addresses some fundamental questions of German Romanticism: Is all music musical? Is music made less musical by the presence of words? What is musical autonomy? How do composers avoid censorship? How are composers affected by exile? Can music articulate a 'politics for the future'? What is the relation between music and philosophy?
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  38. Music, Metamorphosis and Capitalism: Self, Poetics and Politics.John Wall (ed.) - 2007 - Cambridge Scholars Press.
    The essays in this volume look at various kinds of music from a number of perspectives, including the socio-political, the aesthetic and the psychological. The music under discussion here is diverse but fits loosely into the categories rock-pop, new music, rap, metal and music video, with the caveat that much of the music discussed here is historically layered and engages self-consciously in the deconstruction of music genres. If there is an interpretative theme that links (...)
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  39. 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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  40.  3
    Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure.Edritch Priest - 2013 - Bloomsbury Academic.
    Boring Formless Nonsense intervenes in an aesthetics of failure that has largely been delimited by the visual arts and its avant-garde legacies. It focuses on contemporary experimental composition in which failure rubs elbows with the categories of chance, noise, and obscurity. In these works we hear failure anew. We hear boredom, formlessness, and nonsense in a way that gives new purchase to aesthetic, philosophical, and ethical questions that falter in their negative capability. Reshaping current debates on failure as an (...)
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  41.  67
    The Aesthetics of Electronic Dance Music, Part II: Dancers, DJs, Ontology and Aesthetics.Nick Wiltsher - 2016 - Philosophy Compass 11 (8):426-436.
    What's aesthetically interesting or significant about electronic dance music? The first answer I consider here is that dancing is significant. Using literature on groove, dance and expression, I sketch an account of club dancing as expressive activity. I next consider the aesthetic achievements of DJs, introducing two conceptions of what they do. These thoughts lead to discussions of dance music's ontology. I suggest that the fundamental work of dance music is the mix and that mixes require their (...)
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  42.  7
    Music, Meaning and Media.Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.) - 2006 - University of Helsinki.
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  43. Musique Contemporaine: Théories Et Philosophie: Textes d'Étude = Contemporary Music: Theories and Philosophy: Working Papers.Irène Deliège (ed.) - 2000 - Escom Publications.
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  44.  13
    Jerrold Levinson., Music, Art, and Metaphysics: Essays in Philosophical Aesthetics.Ronald E. Roblin - 1994 - International Studies in Philosophy 26 (2):132-133.
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  45.  4
    Jerrold Levinson., Music, Art, and Metaphysics: Essays in Philosophical Aesthetics[REVIEW]Ronald E. Roblin - 1994 - International Studies in Philosophy 26 (2):132-133.
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  46. Wittgenstein on Musical Depth and Our Knowledge of Humankind.Eran Guter - 2017 - In Garry L. Hagberg (ed.), Wittgenstein on Aesthetic Understanding. Palgrave-Macmillan. pp. 217-247.
    Wittgenstein’s later remarks on music, those written after his return to Cambridge in 1929 in increasing intensity, frequency, and elaboration, occupy a unique place in the annals of the philosophy of music, which is rarely acknowledged or discussed in the scholarly literature. These remarks reflect and emulate the spirit and subject matter of Romantic thinking about music, but also respond to it critically, while at the same time they interweave into Wittgenstein’s forward thinking about the philosophic (...)
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  47.  7
    The Quilting Points of Musical Modernsim: Revolution, Reaction, and William Walton.J. P. E. Harper-Scott - 2012 - Cambridge University Press.
    A new theory of musical modernism, which brings contemporary philosophy into contact with music theory and interpretation.
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  48. The Philosophy of Music : Formalism and Beyond.Philip Alperson - 2004 - In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Blackwell.
     
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  49.  78
    Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives.David Clarke & Eric Clarke (eds.) - 2011 - Oxford University Press.
    What is consciousness? Why and when do we have it? Where does it come from, and how does it relate to the lump of squishy grey matter in our heads, or to our material and social worlds? While neuroscientists, philosophers, psychologists, historians, and cultural theorists offer widely different perspectives on these fundamental questions concerning what it is like to be human, most agree that consciousness represents a 'hard problem'. -/- The emergence of consciousness studies as a multidisciplinary discourse addressing these (...)
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  50.  73
    The Music Instinct: How Music Works and Why We Can't Do Without It.Philip Ball - 2010 - Oxford University Press.
    Now in The Music Instinct , award-winning writer Philip Ball provides the first comprehensive, accessible survey of what is known--and still unknown--about how ...
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