Results for 'Musical form'

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  1.  14
    Music forms: superphysical effects of music clairvoyantly observed.Geoffrey Hodson - 1976 - Wheaton, Ill.: Theosophical Pub. House.
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  2.  65
    Tonality, Musical Form, and Aesthetic Value.Walter Horn - 2015 - Perspectives of New Music 53.
    It has been claimed by Diana Raffman, that atonal (and in particular serial) music can have no aesthetic value, because it is in an important sense meaningless. This worthlessness is claimed to result from cognitive/psychological facts about human listeners that have been confirmed by empirical investigations such as those conducted by Lerdahl and Jackendoff. Similar assertions about the necessary inferiority of 12-tone music have been made by, among others, Taruskin, Cavell, and Goldman, some of whom echo Raffman’s suggestion that both (...)
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  3. Musical form and matter.Donald Francis Tovey - 1934 - London: Oxford University Press UK.
     
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  4. Musical form as a generative process.William S. Newman - 1954 - Journal of Aesthetics and Art Criticism 12 (3):301-309.
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  5.  13
    Wordless rhetoric: musical form and the metaphor of the oration.Mark Evan Bonds - 1991 - Cambridge: Harvard University Press.
    Although form is one of the most commonly used terms in music interpretation, it remains one of the most ambiguous. This study explores evolving ideas of musical form from a historical perspective and sheds light on current conceptualizations of music.
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  6.  59
    Musical form and the listener.Nicholas Cook - 1987 - Journal of Aesthetics and Art Criticism 46 (1):23-29.
  7.  34
    Musical form regained.Patricia Carpenter - 1965 - Journal of Philosophy 62 (2):36-48.
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  8.  11
    Music Form but Not Music Experience Modulates Motor Cortical Activity in Response to Novel Music.Patricia Izbicki, Andrew Zaman & Elizabeth L. Stegemöller - 2020 - Frontiers in Human Neuroscience 14.
  9.  12
    Classifying Musical Genres. Building Musical Form and Genre into BCC: Repurposing LCGFT Terms for Music into the Basic Concepts Classification.Deborah Lee & Rick Szostak - 2022 - Knowledge Organization 49 (4):257-272.
    We investigate how the Basic Concepts Classification can best incorporate schedules addressing musical form, genre, and type. We show that the synthetic possibilities within the BCC facilitate the classification of form/genre/type. In particular, many challenges identified in the literature on musical classification are addressed. The BCC also serves to make evident various connections between music and other schedules in BCC.
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  10.  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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  11. Historical Formalism in Music: Toward a Philosophical Theory of Musical Form.Andrea Baldini - 2014 - Contemporary Aesthetics 12:N/A.
    In this paper I begin to fashion a theory of musical form that I call historical formalism. Historical formalism posits that our perception of the formal properties of a musical work is informed by considerations not only of artistic categories but also of the historical, sociopolitical, and cultural circumstances within which that work was composed.
     
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  12.  6
    Derrida Writing Architectural or Musical Form.Peter Dayan - 2003 - Paragraph 26 (3):70-85.
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  13.  6
    Recognizing music as an art form: Friedrich Th. Vischer and German music criticism, 1848-1887.Barbara Titus - 2016 - Leuven (Belgium): Leuven University Press.
    Music's status as an art form was distrusted in the context of German idealist philosophy which exerted an unparalleled influence on the entire nineteenth century. Hegel insisted that the content of a work of art should be grasped in concepts in order to establish its spiritual substantiality (Geistigkeit), and that no object, word or image could accurately represent the content and meaning of a musical work. In the mid-nineteenth century, Friedrich Theodor Vischer and other Hegelian aestheticians kept insisting (...)
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  14.  74
    The Music of Consciousness: Can Musical Form Harmonize Phenomenology and the Brain?Dan Lloyd - 2013 - Constructivist Foundations 8 (3):324-331.
    Context: Neurophenomenology lies at a rich intersection of neuroscience and lived human experience, as described by phenomenology. As a new discipline, it is open to many new questions, methods, and proposals. Problem: The best available scientific ontology for neurophenomenology is based in dynamical systems. However, dynamical systems afford myriad strategies for organizing and representing neurodynamics, just as phenomenology presents an array of aspects of experience to be captured. Here, the focus is on the pervasive experience of subjective time. There is (...)
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  15.  66
    Form and meaning in music: Revisiting the affective character of the major and minor modes.Timothy Justus, Laura Gabriel & Adela Pfaff - 2018 - Auditory Perception and Cognition 1 (3–4):229–247.
    Musical systems develop associations over time between aspects of musical form and concepts from outside of the music. Experienced listeners internalize these connotations, such that the formal elements bring to mind their extra-musical meanings. An example of musical form-meaning mapping is the association that Western listeners have between the major and minor modes and happiness and sadness, respectively. We revisit the emotional semantics of musical mode in a study of 44 American participants (musicians (...)
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  16. The classical and the popular: musical form and social context.Ken Hirschkop & D. Shepherd - 1989 - In Christopher Norris (ed.), Music and the politics of culture. New York: St. Martin's Press. pp. 283--304.
     
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  17. Music, modernism and the Vienna secession : musical form in Ver sacrum (1898-1903).Diane V. Silverthorne - 2011 - In Charlotte De Mille (ed.), Music and modernism, c. 1849-1950. Newcastle upon Tyne, UK: Cambridge Scholars Press.
     
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  18.  7
    Music criticism in Vienna, 1896-1897: critically moving forms.Sandra MacColl & Sandra McColl - 1996 - New York: Oxford University Press.
    Music Criticism in Vienna records a culture in which musical criticism had achieved the status of a minor art form. The period covered - October 1896 to December 1897 - was an eventful time in Vienna. Bruckner died, then Brahms; Mahler arrived; premieres of works by Czech composers coincidedwith increasing tension in the Empire between Czechs and Germans; Puccini's La Boheme reached Vienna on its sensational progress around the world; and the great programme music debate continued. These events (...)
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  19. The aesthetics of music according to Hegel-Systematic classification and musical forms in comparison with the Berlin Vorlesungen.S. Frighetto - 2001 - Verifiche: Rivista Trimestrale di Scienze Umane 30 (3-4):259-298.
     
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  20.  72
    Form and Freedom: The Kantian Ethos of Musical Formalism.Hanne Appelqvist - 2011 - Nordic Journal of Aesthetics 22 (40-41):75-88.
    Musical formalism is often portrayed as the enemy of artistic freedom. Its main representative, Eduard Hanslick, is seen as a purist who, by emphasizing musical rules, aims at restricting music criticism and even musical practices themselves. It may also seem that formalism is depriving music of its ability to have moral significance, as the semantic connection to the extramusical is denied by the formalistic view. In my paper, I defend formalism by placing Hanslick’s argument in a Kantian (...)
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  21.  12
    Musical practice as a form of life: how making music can be meaningful and real.Eva-Maria Houben - 2019 - Bielefeld: Transcript.
    Is musical practice 'real' - and how is it connected with everyday life? Eva-Maria Houben shows that making music changes as soon as its meaning is not sought in a purpose-oriented production of results, but in performing music as an activity - indeed, as play. Musical practice, Eva-Maria Houben contends, should be understood as open and never finished. Such an emphasis on repetition can free us from perfection, productivity, and purpose, allowing meaning to unfold in specific situations, places, (...)
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  22.  13
    Music-Picture: One Form of Synthetic Art Education.Masashi Okada - 2003 - Journal of Aesthetic Education 37 (4):73.
    In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all (...)
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  23.  21
    Music-picture: One form of synthetic art education.Masashi Okada - 2003 - Journal of Aesthetic Education 37 (4):73-84.
    In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all (...)
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  24. PART II. Music-Analytical Case Studies. Analysing Non-Score Based Music / Simon Emmerson / Noise in Spectral Music / Ingrid Pustijanac ; Is There Noise in Helmut Lachenmann's Music? Temporal Form and Moments of Presence in the String Quartet Gran Torso / Christian Utz ; The Mic as a Scalpel : Skinning the Voice in Henri Chopin's Sound Poetry / Jannis Van de Sande ; Noise as Ground in Improvised Music : The Case of Chris Corsano / Diederik Mark de Ceuster ; Stretching Musicality to the Extreme : Vertical Composition in Merzbow's Noise Music.Marina Sudo - 2022 - In Mark Delaere (ed.), Noise as a constructive element in music: theoretical and music-analytical perspectives. New York: Routledge.
     
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  25.  18
    The Form of Life of Sanctity in Music Beyond Hagiography: The Case of John Coltrane and His “Ascension”.Gabriele Marino - 2022 - International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 35 (4):1407-1424.
    The paper investigates the cultural unit of “sanctity” in the light of the notion of “form of life”, in order to show how jazz master John Coltrane pursued sanctity as a regulative model with regards both to personhood and musicianship, so as to translate his existential quest into music. Firstly, the paper briefly summarizes: what we mean today by sanctity ; what are the relationships interweaving music and sanctity ; what we mean by form of life—a notion brought (...)
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  26.  3
    Music and the Forms of Life.Lawrence Kramer - 2022 - University of California Press.
    Inventors in the age of the Enlightenment created lifelike androids capable of playing music on real instruments. _Music and the Forms of Life_ examines the link between such simulated life and music, which began in the era's scientific literature and extended into a series of famous musical works by Haydn, Mozart, and Beethoven. Music invented auditory metaphors for the scientific elements of life (drive, pulse, sensibility, irritability, even metabolism), investigated the affinities and antagonisms between life and mechanism, and explored (...)
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  27. Symbolic forms and formal design in music, morals and legal systems: Instead of an address to Alchourron Y Bulygin.W. Krawietz - 1997 - Rechtstheorie 28 (3).
     
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  28.  53
    Composition, improvisation, constitution: Forms of life in the music of Pierre boulez and ornette Coleman.Timothy S. Murphy - 1998 - Angelaki 3 (2):75 – 102.
    (1998). Composition, improvisation, constitution: forms of life in the music of pierre boulez and ornette coleman. Angelaki: Vol. 3, The love of music, pp. 75-102.
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  29.  10
    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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  30.  64
    Music as a temporal form.Joan Stambaugh - 1964 - Journal of Philosophy 61 (9):265-280.
  31.  5
    Musical modes in visual forms: (a journey through the creative minds).Ambalicka Sood Jacob - 2012 - Delhi, India: New Bharatiya Book Corporation.
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  32.  86
    Philosophy of Western Music: A Contemporary Introduction.Andrew Kania - 2020 - New York, USA: Routledge.
    This is the first comprehensive book-length introduction to the philosophy of Western music that fully integrates consideration of popular music and hybrid musical forms, especially song. Its author, Andrew Kania, begins by asking whether Bob Dylan should even have been eligible for the Nobel Prize in Literature, given that he is a musician. This motivates a discussion of music as an artistic medium, and what philosophy has to contribute to our thinking about music. Chapters 2-5 investigate the most commonly (...)
  33.  15
    Context Effects on Musical Chord Categorization: Different Forms of Top‐Down Feedback in Speech and Music?Bob McMurray, Joel L. Dennhardt & Andrew Struck-Marcell - 2008 - Cognitive Science 32 (5):893-920.
    A critical issue in perception is the manner in which top‐down expectancies guide lower level perceptual processes. In speech, a common paradigm is to construct continua ranging between two phonetic endpoints and to determine how higher level lexical context influences the perceived boundary. We applied this approach to music, presenting participants with major/minor triad continua after brief musical contexts. Two experiments yielded results that differed from classic results in speech perception. In speech, context generally expands the category of the (...)
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  34.  12
    Forms of thought between music and science.Bernardino Fantini - 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. 257.
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  35. Music as a Form of Art.Editor Editor - 1867 - Journal of Speculative Philosophy 1:120.
     
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  36. Ethical form of music. Observations on Leibniz's concept of harmony.G. Erle - 2004 - Verifiche: Rivista Trimestrale di Scienze Umane 33 (1-2):3-24.
  37. Form.Roger Scruton - 1997 - In The Aesthetics of Music. Oxford, GB: Oxford University Press.
    Develops an account of the formal aspect of musical structure and the kind of understanding that it permits and satisfies. Argues for the untenability of the theories developed by both Schenker and Meyer but tries to rescue the Schenkerian concept of prolongation from its theoretical abuse. Argues for a fundamental connection between musical form and human gesture and movement.
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  38.  59
    Philosophy and the analysis of music: bridges to musical sound, form, and reference.Lawrence Ferrara - 1991 - New York: 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 (...)
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  39. Bad music: the music we love to hate.Christopher Washburne & Maiken Derno (eds.) - 2004 - New York: Routledge.
    Why are some popular musical forms and performers universally reviled by critics and ignored by scholars-despite enjoying large-scale popularity? How has the notion of what makes "good" or "bad" music changed over the years-and what does this tell us about the writers who have assigned these tags to different musical genres? Many composers that are today part of the classical "canon" were greeted initially by bad reviews. Similarly, jazz, country, and pop musics were all once rejected as "bad" (...)
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  40.  8
    Music, violence, politics, integrity: Feminist contradictions or an editorial in the form of 18 tweets.Gail Lewis - 2013 - European Journal of Women's Studies 20 (3):231-232.
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  41. Music and the Evolution of Embodied Cognition.Stephen Asma - forthcoming - In M. Clasen J. Carroll (ed.), Evolutionary Perspectives on Imaginative Culture. pp. pp 163-181.
    Music is a universal human activity. Its evolution and its value as a cognitive resource are starting to come into focus. This chapter endeavors to give readers a clearer sense of the adaptive aspects of music, as well as the underlying cognitive and neural structures. Special attention is given to the important emotional dimensions of music, and an evolutionary argument is made for thinking of music as a prelinguistic embodied form of cognition—a form that is still available to (...)
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  42.  64
    Absolute music and the construction of meaning.Daniel K. L. Chua - 1999 - New York: Cambridge University Press.
    This book is born out of two contradictions: first, it explores the making of meaning in a musical form that was made to lose its meaning at the turn of the nineteenth century; secondly, it is a history of a music that claims to have no history - absolute music. The book therefore writes against that notion of absolute music which tends to be the paradigm for most musicological and analytical studies. It is concerned not so much with (...)
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  43. Country Music and the Problem of Authenticity.Evan Malone - 2023 - British Journal of Aesthetics 63 (1):75-90.
    In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, I argue (...)
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  44. Musical works are mind-independent artifacts.Elzė Sigutė Mikalonytė - 2023 - Synthese 203 (1):1-28.
    Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the (...)
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  45. The Work of Music and the Problem of its Identity.Roman Ingarden - 1986 - University of California Press.
    Introduction The starting point for our reflections upon the musical work will be the unsystematized convictions that we encounter in daily life in our communion with musical works before we succumb to one particular theory or another.
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  46.  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 wrong. We argue instead (...)
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  47. Music as Affective Scaffolding.Joel Krueger - forthcoming - In Clarke David, Herbert Ruth & Clarke Eric (eds.), Music and Consciousness II. 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 constitutive of emotional (...)
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  48.  5
    Musical Functionalism: The Musical Thoughts of Arnold Schoenberg and Paul Hindemith.Magnar Breivik - 2011 - Pendragon Press.
    In this book the concept of functionalism, well-known in 20th-century architecture and design, is used to investigate the musical thoughts of two of the leading composers at the time of the Bauhaus, the time of Adolf Loos and Le Corbusier. Functionalism may be characterized by the functional treatment of the chosen material, by functional design, and by a focus on the work's intended function. This tripartite requirement also defines the concept of musical functionalism as developed in this study, (...)
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  49.  44
    Teaching musical fiction.Marcin Stawiarski - 2008 - Journal of Aesthetic Education 42 (4):pp. 78-88.
    In lieu of an abstract, here is a brief excerpt of the content:Teaching Musical FictionMarcin Stawiarski (bio)IntroductionGiven the increasing interest in musico-literary studies, I wish to examine some ways in which music can be used for pedagogical purposes in teaching literature. It has been widely recognized that music and poetry sprang from the common origin of chant or incantation.1 Throughout the ages, the sister arts sometimes went hand in hand and sometimes parted company, but since the end of the (...)
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  50.  8
    Music and the myth of wholeness: toward a new aesthetic paradigm.Tim Hodgkinson - 2016 - Cambridge, Massachusetts: The MIT Press.
    A new theory of aesthetics and music, grounded in the collision between language and the body. In this book, Tim Hodgkinson proposes a theory of aesthetics and music grounded in the boundary between nature and culture within the human being. His analysis discards the conventional idea of the human being as an integrated whole in favor of a rich and complex field in which incompatible kinds of information—biological and cultural—collide. It is only when we acknowledge the clash of body and (...)
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