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Saam Trivedi
Brooklyn College
  1.  27
    Themes in the Philosophy of Music.Saam Trivedi - 2003 - Journal of Aesthetic Education 37 (3):108.
  2.  71
    Against Musical Works as Eternal Types.Saam Trivedi - 2002 - British Journal of Aesthetics 42 (1):73-82.
    I criticize Julian Dodd's Platonist conception of musical works as discovered eternal types, and defend and elaborate upon Jerrold Levinson's conception of musical works as creatable indicated types. I raise broadly three sorts of worries for Dodd. First, I argue that Dodd conflates types with Platonist universals in claiming that types are eternal and discovered. Secondly, I raise worries for Dodd's Platonist claim that musical works are discovered not created. Here I argue that Dodd's claim goes against our current musical (...)
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  3.  91
    Expressiveness as a Property of the Music Itself.Saam Trivedi - 2001 - Journal of Aesthetics and Art Criticism 59 (4):411–420.
  4. An Epistemic Dilemma for Actual Intentionalism.Saam Trivedi - 2001 - British Journal of Aesthetics 41 (2):192-206.
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  5. Idealism and Yogacara Buddhism.Saam Trivedi - 2005 - Asian Philosophy 15 (3):231 – 246.
    Over the last several years, there has been a growing controversy about whether Yogacara Buddhism can be said to be idealist in some sense, as used to be commonly thought by earlier scholars. In this paper, I first clarify the different senses of idealism that might be pertinent to the debate. I then focus on some of the works of Vasubandhu, limiting myself to his Vimsatika, Trimsika, and Trisvabhavanirdesa. I argue that classical Yogacara Buddhism, at least as found in these (...)
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  6. Music and Metaphysics.Saam Trivedi - 2008 - Metaphilosophy 39 (1):124–143.
    In this article, I assume that musical works are abstract types, and I raise and address a new question concerning musical ontology that may take the types view at least a step further: When do musical works cease to exist? I then propound my view about musical works as types, which is somewhat like the Aristotelian Realist position concerning universals. Next, I address some objections to that view. Finally, I provide some grounds for rejecting alternative views that see Western classical (...)
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  7. Metaphors and Musical Expressiveness.Saam Trivedi - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave-Macmillan. pp. 41--57.
     
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  8.  46
    Artist-Audience Communication: Tolstoy Reclaimed.Saam Trivedi - 2004 - Journal of Aesthetic Education 38 (2):38.
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  9. Art as Communication: A Philosophical Inquiry.Saam Trivedi - 1999 - Dissertation, University of Maryland, College Park
    In the present work, I attempt to address the issue of what it means to say that art is a form of communication, that many works of art communicate to us, and that many avant-garde artworks do not communicate to us. These are claim often made by those who are appropriately backgrounded in the arts, and often even by laypersons. ;I focus largely on music and claim that artistic communication is important though not essential to be an artwork, and to (...)
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  10.  21
    Philosophers on Music: Experience, Meaning, and Work: Book Reviews. [REVIEW]Saam Trivedi - 2009 - British Journal of Aesthetics 49 (1):91-93.
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  11.  41
    Imagination, music, and the emotions.Saam Trivedi - 2006 - Revue Internationale de Philosophie 4:415-435.
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  12.  22
    Higgins, Kathleen. The Music Between Us: Is Music a Universal Language? University of Chicago Press, 2012, Xi + 277 Pp., $40.00 Cloth. [REVIEW]Saam Trivedi - 2014 - Journal of Aesthetics and Art Criticism 72 (1):97-99.
  13.  29
    Emotional Truth by de Sousa, Ronald.Saam Trivedi - 2012 - Journal of Aesthetics and Art Criticism 70 (2):239-241.
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