Results for 'Popular music and art music'

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  1.  20
    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.  4
    Philosophy of Art in the Thinking of Ananda Kentish Coomaraswamy.Lejla Mušić - 2007 - Filozofska Istrazivanja 27 (1):213-234.
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  3. Music and Technology. Virtuality and Metadesign : Sound Art in the Age of Connectivity / Paulo C. Chagas ; "When New Media Was the Big Idea" : Internet and the Rethinking of Pop-Music Languages / Gianni Sibilla ; Mediated Stardom, Constructed Images : The Value and Functioning of Authorship in Popular Music.Laura Ahonen & Home Studio Aesthetics : Tracking Cultural Processes of Popular Music Production - 2006 - In Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.), Music, Meaning and Media. University of Helsinki.
     
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  4.  78
    A Critique of Folk, Popular and ‘Art’ Music.Frank Howes - 1962 - British Journal of Aesthetics 2 (3):239-248.
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  5.  5
    THEterm Tonal Music Can Be Applied to a Large Variety of Musical Styles in the West. This Includes That of the Four Periods (Baroque, Classical, Romantic, and Modern) Into Which Western Art-Music is Commonly Divided, as Well as Other Musical Styles From Popular.Emmanuel Bigand & Bénédicte Poulin-Charronnat - 2008 - In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oxford University Press.
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  6.  12
    Beyond Art: Postmodernism and the Case of Popular Music.J. Stratton - 1989 - Theory, Culture and Society 6 (1):31-57.
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  7. Feminist Aesthetics, Popular Music, and the Politics of the 'Mainstream'.Robin James - 2011 - In L. Ryan Musgrave (ed.), Feminist Aesthetics and Philosophy of Art. Springer.
    While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some (...)
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  8.  4
    Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde.Bernard Gendron - 2002 - University of Chicago Press.
    When and how did pop music earn so much cultural capital? This text investigates five key moments when popular music and avant-garde art transgressed the rigid boundaries separating high and low culture to form friendly alliances.
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  9.  74
    Moribund Music: Can Classical Music Be Saved?Carolyn Beckingham - 2009 - Sussex Academic Press.
    What's wrong with music? -- A century of cultural earthquakes -- Crossover music : help or hindrance? -- Opera : a special case? -- Are schools the solution? -- Where do we go from here?
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  10. Music: A Brief Insight.Nicholas Cook - 2010 - Sterling.
    Musical values -- Back to Beethoven -- A state of crisis? -- An imaginary object -- A matter of representation -- Music and the academy -- Music and gender.
     
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  11.  50
    The Ethics of Singing Along: The Case of 'Mind of a Lunatic'.Aaron Smuts - 2013 - Journal of Aesthetics and Art Criticism 71 (1):121-129.
    In contrast to film, theater, and literature, audiences typically sing along with popular songs. This can encourage a first-person mode of engagement with the narrative content. Unlike mere spectators, listeners sometimes imagine acting out the content when it is recited in the first-person. This is a common mode of engaging with popular music. And it can be uniquely morally problematic. It is problematic when it involves the enjoyment of imaginatively doing evil. I defend a Moorean view on (...)
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  12.  13
    Ideological and Political Conflicts About Popular Music in Serbia.Misa Djurkovic - 2004 - Filozofija I Društvo 25:271-284.
    The paper is focused on ideological and political conflicts about popular music in Serbia, as a good example of wrong and confused searching for identity. Basic conflict that author is analyzing is about oriental elements and the question if they are legitimate parts of Serbian musical heritage or not. Author is making an analysis of three periods in twentieth century, in which absolutely the same arguments were used, and he's paying special attention to contemporary conflicts, trying to explain (...)
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  13.  43
    Valuing and Evaluating Popular Music.Theodore Gracyk - 1999 - Journal of Aesthetics and Art Criticism 57 (2):205-220.
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  14. Convergences in Music and Art: A Bibliographic Study.George C. Schuetze - 2005 - Harmonie Park Press.
    Artists inspired by music and musicians -- Composers inspired by art and artists -- Twin talents : artist-musicians and musician-artists -- Musicians pose for the artists : a history of portrait iconography.
     
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  15. 9/11 as Schmaltz-Attractor: A Coda on the Significance of Kitsch.C. E. Emmer - 2013 - In Monica Kjellman-Chapin (ed.), Kitsch: History, Theory, Practice. Cambridge Scholars Press. pp. 184-224.
    "The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy objects (...)
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  16.  90
    Popular Art.Aaron Smuts - 2012 - In The Continuum Companion to Aesthetics. Continuum.
    The common assumption is that works of popular are less serious, less artistically valuable. Popular art is driven by a profit motive; real art, high art, is produced for loftier goals, such as aesthetic appreciation. Further, popular art is formulaic and gravitates toward the lowest common denominator. High art is innovative. It enriches, elevates, and inspires; popular art just entertains. Worse, popular art inculcates cultural biases. It is a corporate tool of ideological indoctrination, making contingent (...)
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  17.  9
    Can American Popular Vocal Music Escape the Legacy of Blackface Minstrelsy?Lee B. Brown - 2013 - Journal of Aesthetics and Art Criticism 71 (1):91-100.
  18. Four Theories of Inversion in Art and Music.John Dilworth - 2002 - Southern Journal of Philosophy 40 (1):1-19.
    Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works as (...)
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  19.  4
    Integrating Music Into Intellectual History: Nineteenth-Century Art Music as a Discourse of Agency and Identity.John E. Toews - 2008 - Modern Intellectual History 5 (2):309-331.
    Few intellectual historians of nineteenth-century Europe would deny that the tradition of art music that evolved between the revolutionary watershed at the end of the eighteenth century and the international wars and domestic convulsions of the first half of the twentieth century—a body of musical works from Haydn and Mozart to Mahler and Strauss that has been passed down to us in canonized form as the “imaginary museum” of “classical music” —was an enormously significant dimension of European cultural (...)
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  20.  1
    Integrating Music Into Intellectual History: Nineteenth-Century Art Music as a Discourse of Agency and Identity: John E. Toews.John E. Toews - 2008 - Modern Intellectual History 5 (2):309-331.
    Few intellectual historians of nineteenth-century Europe would deny that the tradition of art music that evolved between the revolutionary watershed at the end of the eighteenth century and the international wars and domestic convulsions of the first half of the twentieth century—a body of musical works from Haydn and Mozart to Mahler and Strauss that has been passed down to us in canonized form as the “imaginary museum” of “classical music” —was an enormously significant dimension of European cultural (...)
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  21. Performing Rites: Evaluating Popular Music.Simon Frith - 1998 - Oxford University Press.
    Who's better? Billie Holiday or P. J. Harvey? Blur or Oasis? Dylan or Keats? And how many friendships have ridden on the answer? Such questions aren't merely the stuff of fanzines and idle talk; they inform our most passionate arguments, distil our most deeply held values, make meaning of our ever-changing culture. In Performing Rites, one of the most influential writers on popular music asks what we talk about when we talk about music. What's good, what's bad? (...)
     
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  22. 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.
  23.  74
    Messages in Art and Music: On Route to Understanding Musical Works with Jerrold Levinson.Malgorzata A. Szyszkowska - 2010 - Dialogue and Universalism 20 (3-4):97.
    In his article untitled Messages in Art Jerrold Levinson discusses the idea of a message behind a work of art. He argues that despite certain disclaimers put forward by artists it is „hard to deny that artworks (...) very often do have messages, and far from inexpressible ones”. From given examples it would seem that Levinson assumes that musical work just as other artworks sometimes generate messages and that in order for a work of music to be successful in (...)
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  24. A Language of its Own: Sense and Meaning in the Making of Western Art Music.Ruth Katz - 2010 - University of Chicago Press.
    The Western musical tradition has produced not only music, but also countless writings about music that remain in continuous—and enormously influential—dialogue with their subject. With sweeping scope and philosophical depth, _A Language of Its Own_ traces the past millennium of this ongoing exchange. Ruth Katz argues that the indispensible relationship between intellectual production and musical creation gave rise to the Western conception of music. This evolving and sometimes conflicted process, in turn, shaped the art form itself. As (...)
     
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  25. A Language of its Own: Sense and Meaning in the Making of Western Art Music.Ruth Katz - 2013 - University of Chicago Press.
    The Western musical tradition has produced not only music, but also countless writings about music that remain in continuous—and enormously influential—dialogue with their subject. With sweeping scope and philosophical depth, _A Language of Its Own_ traces the past millennium of this ongoing exchange. Ruth Katz argues that the indispensible relationship between intellectual production and musical creation gave rise to the Western conception of music. This evolving and sometimes conflicted process, in turn, shaped the art form itself. As (...)
     
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  26.  43
    The Fine Art of Repetition: Essays in the Philosophy of Music.Peter Kivy - 1993 - Cambridge University Press.
    Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music (...)
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  27.  72
    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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  28.  36
    Relationships of Sonification to Music and Sound Art.Scot Gresham-Lancaster - 2012 - AI and Society 27 (2):207-212.
    The definition of sonification has been reframed in recent years but remains somewhat in flux; the basic concepts and procedural flows have remained relatively unchanged. Recent definitions have focused on the objective the important uses of sonification in terms of scientific method. The full realization of the potential of the field must also include the craft and art of music composition. The author proposes examining techniques of sonification in a two-order framework: direct and procedural. The impact of new technologies (...)
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  29. Democracy and Popular Music in Music Education.K. Snell - 2009 - In June Countryman & Elizabeth Gould (eds.), Exploring Social Justice: How Music Education Might Matter. Canadian Music Educators' Association = Association Canadienne des Musiciens Éducateurs. pp. 166--183.
     
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  30.  18
    Apparitions: New Perspectives on Adorno and Twentieth Century Music.Berthold Hoeckner (ed.) - 2006 - Routledge.
    Apparitions takes a new look at the critical legacy of one of the 20th century's most important and influential thinkers about music, Theodor W. Adorno. Bringing together an international group of scholars, the book offers new historical and critical insights into Adorno's theories of music and how these theories, in turn, have affected the study of contemporary art music, popular music, and jazz. The essays review the impact of Philosophy of New Music a fter (...)
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  31.  25
    Music, Art, and Metaphysics: Essays in Philosophical Aesthetics.Jerrold Levinson - 1990 - Cornell University Press.
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  32.  38
    Intertextuality in Western Art Music.Michael Leslie Klein - 2005 - Indiana University Press.
    Eco, Chopin, and the limits of intertextuality -- The appeal to structure -- On codes, topics, and leaps of interpretation -- Bloom, Freud, and Riffaterre : influence and intertext as signs of the uncanny -- Narrative and intertext : the logic of suffering in Lutosawski's Symphony no. 4.
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  33.  17
    An Eye for Music: Popular Music and the Audiovisual Surreal.John Richardson - 2011 - Oxford University Press.
    Introduction -- Navigating the neosurreal : background and premises -- Neosurrealist tendencies in recent films -- Neosurrealist metamusicals, flow and camp aesthetics -- In tandem with the random : loose synchronisation and remediation in Philip Glass's -- La Belle et la Bête and The dark side of Oz -- The surrealism of the virtual band in the digital age : Gorillaz' "Clint Eastwood" and "Feel good inc." -- Back to the garden? Performing the disaffected acoustic imaginary in the digital age (...)
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  34. 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.
     
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  35.  49
    Music, Art, and Metaphysics: Essays in Philosophical Aesthetics.Jerrold Levinson - 1992 - Journal of Aesthetics and Art Criticism 50 (4):327-329.
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  36. What a Difference a Name Makes : Two Instances of African-American Popular Music.D. Brackett - 2003 - In Martin Clayton, Trevor Herbert & Richard Middleton (eds.), The Cultural Study of Music: A Critical Introduction. Routledge.
  37.  6
    Postmodernism and Art Music in the German Debate.Joakim Tillman - 2002 - In Judith Irene Lochhead & Joseph Henry Auner (eds.), Postmodern Music/Postmodern Thought. Routledge. pp. 75.
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  38.  4
    The Aesthetics of Western Art Music.Roger Scruton Andy Hamilton - 1999 - Philosophical Books 40 (3):145-159.
    Book reviewed in this article:Roger Scruton, The Aesthetics of Music.
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  39.  1
    T Ea Ching Practices in Persian Art Music.Erum Naqvi - 2012 - In Wayne D. Bowman & Ana Lucía Frega (eds.), The Oxford Handbook of Philosophy in Music Education. Oup Usa. pp. 180.
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  40.  17
    Snapshots of Childhood Creativity in Science, Music, and Art: Richard Feynman, Clara Schumann, and René Magritte. Spitz - 2013 - Journal of Aesthetic Education 47 (4):1-13.
    This essay is prompted, in part, by a spate of alarmist articles in the media over the past several years concerning what journalists have called "the creativity crisis,"2 articles claiming, in other words, that American creativity is in decline. A corresponding call has arisen to seek remedies and determine how creativity might be fostered in the lives of children so as to stem the tide of this (alleged) decline. While taking these dramatic concerns and pronouncements cum grano salis, this article (...)
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  41.  1
    Locus of Control and Styles of Coping with Stress in Students Educated at Polish Music and Visual Art Schools – a Cross-Sectional Study.Anna Antonina Nogaj - 2017 - Polish Psychological Bulletin 48 (2):279-287.
    The article focuses on identifying differences in the locus of control and styles of coping with stress among young students who are artistically gifted within the fields of music and visual arts. The research group includes Polish students of both music and visual art schools who develop their artistic talents in schools placing particular emphasis on professional training of their artistic abilities and competences within the field of music or visual arts respectively. We make an assumption that (...)
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  42.  11
    Listening to Many Voices: Athenian Tragedy as Popular Art.William Allan & Adrian Kelly - 2013 - In Anna Marmodoro & Jonathan Hill (eds.), The Author's Voice in Classical and Late Antiquity. Oxford University Press. pp. 77.
    By analysing how the audience interpreted the many voices of tragic performance, this chapter suggests a new model for understanding tragedy’s relationship to the world of the watching community. Although the idea that the poet expresses his personal opinions through the chorus or his characters is now rightly seen as old-fashioned and naïve, it is still legitimate to ask how the poet uses his heroic characters and their voices to speak to his contemporary audience—using ‘speak to’ in the broadest sense, (...)
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  43. Aesthetics and the Philosophy of Art: The Analytic Tradition: An Anthology.Peter Lamarque & Stein Haugom Olsen (eds.) - 2003 - Wiley-Blackwell.
    This anthology provides comprehensive coverage of the major contributions of analytic philosophy to aesthetics and the philosophy of art, from the earliest beginnings in the 1950’s to the present time. Traces the contributions of the analytic tradition to aesthetics and the philosophy of art, from the 1950’s to the present time. Designed as a comprehensive guide to the field, it presents the most often-cited papers that students and researchers encounter. Addresses a wide range of topics, including identifying art, ontology, intention (...)
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  44. Cultivating Our “Musical Bumps” While Fighting the “Progress of Popery”: The Rise of Art and Music Education in the Mid-Nineteenth Century United States.Margaret A. Nash - 2013 - Educational Studies: Journal of the American Educational Studies Association 49 (3):193-212.
    This article seeks to understand the social and cultural factors that led to the introduction of music and art education in public schools, a process that began in the middle decades of the nineteenth century. Based on archival material, including institutional catalogues, school board reports, magazine articles, and tracts, I demonstrate that music and art held varied meanings in this period, one of the most important of which was denominational competition. One major element in a nationwide promotion of (...)
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  45. On Popular Music.T. W. Adorno - 1941 - Studies in Philosophy and Social Science 9:17.
     
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  46.  2
    Music, Art, and Metaphysics.Jerrold Levinson - 1993 - Philosophy and Phenomenological Research 53 (2):471-475.
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  47. Book Review: Theology and the Arts: Encountering God Through Music, Art, and Rhetoric. [REVIEW]Catherine A. Kapikian - 2001 - Interpretation: A Journal of Bible and Theology 55 (4):444-446.
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  48.  2
    Branden W. Joseph. Experimentations: John Cage in Music, Art, and Architecture. New York: Bloomsbury Academic, 2016. 217 Pp. [REVIEW]Jeffrey Saletnik - 2018 - Critical Inquiry 44 (4):806-807.
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  49.  11
    The Producer as Composer: Shaping the Sounds of Popular Music.Virgil Moorefield - 2010 - MIT Press.
    The evolution of the record producer from organizer to auteur, from Phil Spector and George Martin to the rise of hip-hop and remixing.
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  50.  2
    Cassette Culture: Popular Music and Technology in North India.Rahul Peter Das & Peter Manuel - 1995 - Journal of the American Oriental Society 115 (2):357.
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