Linked bibliography for the SEP article "The Philosophy of Music" by Andrew Kania

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If everything goes well, this page should display the bibliography of the aforementioned article as it appears in the Stanford Encyclopedia of Philosophy, but with links added to PhilPapers records and Google Scholar for your convenience. Some bibliographies are not going to be represented correctly or fully up to date. In general, bibliographies of recent works are going to be much better linked than bibliographies of primary literature and older works. Entries with PhilPapers records have links on their titles. A green link indicates that the item is available online at least partially.

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Alcaraz León, María José, 2012, “Music’s Moral Character”, Teorema, 31(3): 179–91. (Scholar)
Alperson, Philip, 1984, “On Musical Improvisation”, Journal of Aesthetics and Art Criticism, 43(1): 17–29. doi:10.2307/430189 (Scholar)
–––, 1998, “Improvisation: An Overview”, in Encyclopedia of Aesthetics (Volume 1), Michael Kelly (ed.), New York: Oxford University Press, pp. 478–9. (Scholar)
–––, 2009, “Facing the Music: Voices from the Margins”, Topoi, 28(2): 91–96. doi:10.1007/s11245-009-9052-9 (Scholar)
–––, 2014, “Music and Morality”, in Ethics and the Arts, Paul Macneill (ed.), New York: Springer, pp. 21–31. (Scholar)
Alperson, Philip, Nguyen Chi Ben, & To Ngoc Thanh, 2007, “The Sounding of the World: Aesthetic Reflections on Traditional Gong Music of Vietnam”, Journal of Aesthetics and Art Criticism, 65(1): 11–20. doi:10.1111/j.1540-594x.2007.00233.x (Scholar)
Aristotle, Poetics, Stephen Halliwell (trans.), London: Duckworth, 1987.
Bartel, Christopher, 2017, “Rock as a Three-Value Tradition”, Journal of Aesthetics and Art Criticism, 75(2): 143–54. (Scholar)
Bicknell, Jeanette, 2015, Philosophy of Song and Singing: An Introduction, New York: Routledge. (Scholar)
Bicknell, Jeanette & John Andrew Fisher (eds.), 2013, Special Issue on Song, Songs, and Singing, Journal of Aesthetics and Art Criticism, 71(1). (Scholar)
Bordwell, David and Noël Carroll (eds.), 1996, Post-Theory: Reconstructing Film Studies, Madison, WI: University of Wisconsin Press. (Scholar)
Bresnahan, Aili, 2015, “Improvisation in the Arts”, Philosophy Compass, 10(9): 573–82. doi:10.1111/phc3.12251 (Scholar)
Brown, Lee B., 1996, “Musical Works, Improvisation, and the Principle of Continuity”, Journal of Aesthetics and Art Criticism, 54(4): 353–69. doi:10.2307/431917 (Scholar)
–––, 2000, “‘Feeling My Way’: Jazz Improvisation and its Vicissitudes—A Plea for Imperfection”, Journal of Aesthetics and Art Criticism, 58(2): 113–23. doi:10.2307/432090 (Scholar)
–––, 2011, “Do Higher-Order Music Ontologies Rest on a Mistake?” British Journal of Aesthetics, 51(2): 169–84. doi:10.1093/aesthj/ayr002 (Scholar)
–––, 2012, “Further Doubts about Higher-Order Ontology: Reply to Andrew Kania”, British Journal of Aesthetics, 52(1): 103–6. doi:10.1093/aesthj/ayr045 (Scholar)
Bruno, Franklin, 2013, “A Case for Song: Against an (Exclusively) Recording-Centered Ontology of Rock”, Journal of Aesthetics and Art Criticism, 71(1): 65–74. (Scholar)
Budd, Malcolm, 1985a, Music and the Emotions: The Philosophical Theories, London: Routledge & Kegan Paul. (Scholar)
–––, 1985b, “Understanding Music”, Proceedings of the Aristotelian Society (Supplement), 59(1): 233–48. doi:10.1093/aristoteliansupp/59.1.215 (Scholar)
–––, 1995, Values of Art: Pictures, Poetry and Music, London: Penguin. (Scholar)
–––, 2003, “Musical Movement and Aesthetic Metaphors”, British Journal of Aesthetics, 43(3): 209–23. doi:10.1093/bjaesthetics/43.3.209 (Scholar)
Cameron, Ross P., 2008, “There Are No Things That Are Musical Works”, British Journal of Aesthetics, 48(3): 295–314. doi:10.1093/aesthj/ayn022 (Scholar)
Caplan, Ben & Carl Matheson, 2004, “Can a Musical Work be Created?” British Journal of Aesthetics, 44(2): 113–34. doi:10.1093/bjaesthetics/44.2.113 (Scholar)
–––, 2006, “Defending Musical Perdurantism”, British Journal of Aesthetics, 46(1): 59–69. doi:10.1093/aesthj/ayj004 (Scholar)
Carroll, Noël, 1988, Mystifying Movies: Fads and Fallacies in Contemporary Film Theory, New York: Columbia University Press. (Scholar)
Cheyne, Peter, Andy Hamilton, & Max Paddison (eds.), 2019, The Philosophy of Rhythm: Aesthetics, Music, Poetics, New York: Oxford University Press. (Scholar)
Collingwood, R.G., 1938, The Principles of Art, Oxford: Oxford University Press. (Scholar)
Cooke, Deryck, 1959, The Language of Music, Oxford: Oxford University Press. (Scholar)
Cox, Renée, 1986, “A Defence of Musical Idealism”, British Journal of Aesthetics, 26(2): 133–142. doi:10.1093/bjaesthetics/26.2.133 (Scholar)
Cray, Wesley D., 2019, “Transparent and Opaque Performance Personas”, Journal of Aesthetics and Art Criticism, 77(2): 181–91. doi:10.1111/jaac.12635 (Scholar)
Cray, Wesley D. & Carl Matheson, 2017, “A Return to Musical Idealism”, Australasian Journal of Philosophy, 95(4): 702–15. doi:10.1080/00048402.2017.1281323 (Scholar)
Currie, Gregory, 1989, An Ontology of Art, New York: St. Martin’s Press. (Scholar)
Davies, David, 2004, Art as Performance, Malden: Blackwell. (Scholar)
–––, 2009, “The Primacy of Practice in the Ontology of Art”, Journal of Aesthetics and Art Criticism, 67(2): 159–71. doi:10.1111/j.1540-6245.2009.01345.x (Scholar)
–––, 2011, Philosophy of the Performing Arts. Malden, MA: Wiley-Blackwell. doi:10.1002/9781444343458 (Scholar)
–––, 2017, “Descriptivism and its Discontents”, Journal of Aesthetics and Art Criticism, 75(2): 117–29. (Scholar)
–––, 2021, “Puy on ‘Nested Types’”, Journal of Aesthetics and Art Criticism, 79(2): 251–5. (Scholar)
Davies, Stephen, 1987, “The Evaluation of Music”, in S. Davies 2003: 195–212. (Scholar)
–––, 1991, “The Ontology of Musical Works and the Authenticity of their Performances”, Noûs, 25(1): 21–41. doi:10.2307/2216091 (Scholar)
–––, 1994, Musical Meaning and Expression, Ithaca, NY: Cornell University Press. (Scholar)
–––, 1997a, “John Cage’s 4′33″: Is it Music?”, Australasian Journal of Philosophy, 75(4): 448–62. Reprinted in Davies 2003b: 11–29. doi:10.1080/00048409712348031 (Scholar)
–––, 2001, Musical Works and Performances: A Philosophical Exploration, Oxford: Oxford University Press. (Scholar)
–––, 2002a, “The Multiple Interpretability of Musical Works”, in Is There a Single Right Interpretation?, Michael Krausz (ed.), University Park: Pennsylvania State University Press, 231–50. (Scholar)
–––, 2002b, “Profundity in Instrumental Music”, British Journal of Aesthetics, 42(4): 343–56. doi:10.1093/bjaesthetics/42.4.343 (Scholar)
–––, 2003a, “Ontologies of Musical Works”, in S. Davies 2003b: 30–46. (Scholar)
–––, 2003b, Themes in the Philosophy of Music, Oxford: Oxford University Press. (Scholar)
–––, 2006, “Artistic Expression and the Hard Case of Pure Music”, in Kieran 2006: 179–91. (Scholar)
–––, 2007, “Balinese Aesthetics”, Journal of Aesthetics and Art Criticism, 65(1): 21–29. doi:10.1111/j.1540-594x.2007.00234.x (Scholar)
–––, 2011b, “Emotional Contagion from Music to Listener”, in S. Davies 2011e: 47–65. (Scholar)
–––, 2011c, “Musical Understandings”, in S. Davies 2011e: 88–129. (Scholar)
–––, 2011d, “Music and Metaphor”, in S. Davies 2011e: 21–34. (Scholar)
–––, 2011e, Musical Understandings and Other Essays on the Philosophy of Music, Oxford: Oxford University Press. (Scholar)
–––, 2012, “On Defining Music”, The Monist, 95: 535–55. (Scholar)
DeBellis, Mark, 1995, Music and Conceptualization, Cambridge: Cambridge University Press. (Scholar)
De Clercq, Rafael, 2007, “Melody and Metaphorical Movement”, British Journal of Aesthetics, 47(2): 156–68. doi:10.1093/aesthj/ayl053 (Scholar)
Dewey, John, 1934, Art as Experience, New York: Minton, Balch. (Scholar)
Dodd, Julian, 2007, Works of Music: An Essay in Ontology, Oxford: Oxford University Press. (Scholar)
–––, 2010, “Confessions of an Unrepentant Timbral Sonicist”, British Journal of Aesthetics, 50(1): 33–52. doi:10.1093/aesthj/ayp044 (Scholar)
–––, 2013, “Adventures in the Metaontology of Art: Local Descriptivism, Artefacts and Dreamcatchers”, Philosophical Studies, 165(3): 1047–68. doi:10.1007/s11098-012-9999-z (Scholar)
–––, 2014a, “Upholding Standards: A Realist Ontology of Standard Form Jazz”, Journal of Aesthetics and Art Criticism, 72(3): 277–90. (Scholar)
–––, 2014b, “The Possibility of Profound Music”, British Journal of Aesthetics, 54(3): 299–322. doi:10.1093/aesthj/ayu031 (Scholar)
–––, 2018, “What 4′33″ Is”, Australasian Journal of Philosophy, 96(4): 629–41. (Scholar)
–––, 2020a, Being True to Works of Music, Oxford: Oxford University Press. (Scholar)
–––, 2020b, “Blurred Lines: Ravasio on ‘Historically Informed Performance’”, Journal of Aesthetics and Art Criticism, 78(1): 85–90. (Scholar)
Dodd, Julian, & Philip Letts, 2017, “Types, Tokens, and Talk about Musical Works”, Journal of Aesthetics and Art Criticism, 75(3): 249–63. (Scholar)
Dubiel, Joseph, 2011 “Analysis”, in Gracyk & Kania 2011: 535–45. (Scholar)
Dyck, John, 2014, “Perfect Compliance in Musical History and Musical Ontology”, British Journal of Aesthetics, 54(1): 31–47. (Scholar)
Fisher, John Andrew, 1998, “Rock ’n’ Recording: The Ontological Complexity of Rock Music”, Musical Worlds: New Directions in the Philosophy of Music, Philip Alperson (ed.), University Park, PA: Pennsylvania State University Press. 109–23. (Scholar)
–––, 2018, “Jazz and Musical Works”, Journal of Aesthetics and Art Criticism, 76(2): 151–62. doi:10.1111/jaac.12450 (Scholar)
Gaut, Berys, 2007, Art, Emotion and Ethics, Oxford: Oxford University Press. (Scholar)
Goehr, Lydia, 1992, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, Oxford: Oxford University Press. (Scholar)
–––, 1998, The Quest for Voice: On Music, Politics, and the Limits of Philosophy: The 1997 Ernest Bloch Lectures, Oxford: Oxford University Press. (Scholar)
Goldman, Alan, 1992, “The Value of Music”, Journal of Aesthetics and Art Criticism, 50(1): 35–44. doi:10.2307/431065 (Scholar)
–––, 1995, “Emotions in Music (A Postscript)”, Journal of Aesthetics and Art Criticism, 53(1): 59–69. doi:10.2307/431737 (Scholar)
Goodman, Nelson, 1968, Languages of Art, Indianapolis: Hackett; second edition, 1976. (Scholar)
Gould, Carol & Kenneth Keaton, 2000, “The Essential Role of Improvisation in Musical Performance”, Journal of Aesthetics and Art Criticism, 58(2): 143–8. doi:10.2307/432093 (Scholar)
Gracyk, Theodore, 1996, Rhythm and Noise: An Aesthetics of Rock, Durham, NC: Duke University Press. (Scholar)
–––, 2001, I Wanna Be Me: Rock Music and the Politics of Identity, Philadelphia: Temple University Press. (Scholar)
–––, 2009, “The Song Remains the Same, But Not Always,” in Led Zeppelin and Philosophy: All will be Revealed, Scott Calef (ed.), Chicago: Open Court, 31–45. (Scholar)
–––, 2011, “Evaluating Music”, in Gracyk & Kania 2011: 165–75. (Scholar)
–––, 2017, “Performer, Persona, and the Evaluation of Musical Performance”, Contemporary Aesthetics, 15(13). [Gracyk 2017 available online] (Scholar)
Gracyk, Theodore & Andrew Kania (eds.), 2011, The Routledge Companion to Philosophy and Music, New York: Routledge. (Scholar)
Hagberg, Garry L., 1998, “Improvisation: Jazz Improvisation”, in Encyclopedia of Aesthetics (Volume 1), Michael Kelly (ed.), New York: Oxford University Press, 479–82. (Scholar)
–––, 2002, “On Representing Jazz: An Art Form in Need of Understanding”, Philosophy and Literature, 26(1): 188–98. doi:10.1353/phl.2002.0013 (Scholar)
–––, 2006 “Jazz Improvisation: A Mimetic Art?”, Revue Internationale de Philosophie, 238: 469–85. (Scholar)
–––, 2008, “Jazz Improvisation and Ethical Interaction: A Sketch of the Connections”, in Art and Ethical Criticism, Garry L. Hagberg (ed.), Malden, MA: Blackwell, pp. 259–85. (Scholar)
–––, 2021, “Jazz”, in The Oxford Handbook of Western Music and Philosophy, Tomás McAuley, Nanette Nielsen, Jerrold Levinson, & Ariana Phillips-Hutton (eds.), Oxford: Oxford University Press, pp. 579–99. doi:10.1093/oxfordhb/9780199367313.013.28 (Scholar)
Hamilton, Andy, 2007, Aesthetics and Music, New York: Continuum. (Scholar)
Hanslick, Eduard, [1854] 1986, On the Musically Beautiful: A Contribution towards the Revision of the Aesthetics of Music (Vom Musikalisch-Schönen), Geoffrey Payzant (trans.), Indianapolis, IN: Hackett. (First published 1854.) (Scholar)
Harold, James, 2016, “On the Ancient Idea that Music Shapes Character”, Dao, 15: 341–54. doi:10.1007/s11712-016-9515-9 (Scholar)
Hazlett, Allan, 2012, “Indication, Abstraction, and Individuation”, in Mag Uidhir 2012a: 161–78. (Scholar)
Higgins, Kathleen Marie, 1991, The Music of Our Lives, Philadelphia: Temple University Press. (Scholar)
–––, 2007, “An Alchemy of Emotion: Rasa and Aesthetic Breakthroughs”, Journal of Aesthetics and Art Criticism, 65(1): 43–54. doi:10.1111/j.1540-594x.2007.00236.x (Scholar)
–––, 2012, The Music Between Us: Is Music a Universal Language?, Chicago: University of Chicago Press. (Scholar)
Howell, Robert, 2002, “Types, Indicated and Initiated”, British Journal of Aesthetics, 42(2): 105–27. doi:10.1093/bjaesthetics/42.2.105 (Scholar)
Hume, David, [1757] 1985, “Of Tragedy”, in Essays: Moral, Political, and Literary, E. Miller (ed.), Indianapolis: Liberty Classics, pp. 216–25. (Scholar)
Huovinen, Erkki, 2008, “Levels and Kinds of Listeners’ Musical Understanding”, British Journal of Aesthetics, 48(3): 315–37. doi:10.1093/aesthj/ayn023 (Scholar)
–––, 2011, “Understanding Music”, in Gracyk & Kania 2011: 123–33. (Scholar)
–––, 2013, “Concatenationism and Anti-architectonicism in Musical Understanding”, Journal of Aesthetics and Art Criticism, 71(3): 247–60. doi:10.1111/jaac.12018 (Scholar)
Ingarden, Roman, [1961] 1986, The Work of Music and the Problem of its Identity (Utwór muzyczny i sprawa jego tożsamości), Adam Czerniawski (trans.), Berkeley, CA: University of California Press; first published in German in 1961. (Scholar)
Jackendoff, Ray, 2011, “Music and Language”, in Gracyk & Kania 2011: 101–12. (Scholar)
Kania, Andrew, 2006, “Making Tracks: The Ontology of Rock Music”, Journal of Aesthetics and Art Criticism, 64(4): 401–14. doi:10.1111/j.1540-594x.2006.00219.x (Scholar)
–––, 2008, “The Methodology of Musical Ontology: Descriptivism and Its Implications”, British Journal of Aesthetics, 48(4): 426–44. doi:10.1093/aesthj/ayn034 (Scholar)
–––, 2010, “Silent Music”, Journal of Aesthetics and Art Criticism, 68(4): 343–53. doi:10.1111/j.1540-6245.2010.01429.x (Scholar)
–––, 2011a, “Definition”, in Gracyk & Kania 2011: 1–13. (Scholar)
–––, 2011b, “All Play and No Work: An Ontology of Jazz”, Journal of Aesthetics and Art Criticism, 69(4): 391–403. doi:10.1111/j.1540-6245.2011.01483.x (Scholar)
–––, 2015, “An Imaginative Theory of Musical Space and Movement”, British Journal of Aesthetics, 55(2): 157–72. doi:10.1093/aesthj/ayu100 (Scholar)
–––, 2020, Philosophy of Western Music: A Contemporary Introduction, New York: Routledge. doi:10.4324/9781315210629 (Scholar)
–––, 2022, “The Heart of Classical Work-Performance”, The British Journal of Aesthetics, 62(1): 125–141, doi:10.1093/aesthj/ayab031 (Scholar)
Kieran, Matthew (ed.), 2006, Contemporary Debates in Aesthetics and the Philosophy of Art, Malden, MA: Blackwell. (Scholar)
Kivy, Peter, 1980, The Corded Shell: Reflections on Musical Expression, Princeton, NJ: Princeton University Press. (Scholar)
–––, 1983a, “Platonism in Music: A Kind of Defense”, Grazer Philosophische Studien, 19(1): 109–129. Reprinted in Kivy 1993: 35–58. doi:10.1163/18756735-90000194 (Scholar)
–––, 1983b, “Platonism in Music: Another Kind of Defense”, American Philosophical Quarterly, 24(3): 245–252. Reprinted in Kivy 1993: 59–74. (Scholar)
–––, 1988a, “Orchestrating Platonism”, in Aesthetic Distinction, Thomas Anderberg, Tore Nilstun, & Ingmar Persson (eds.), pp. 42–55. Reprinted in Kivy 1993: 75–94. (Scholar)
–––, 1988b, Osmin’s Rage: Philosophical Reflections on Opera, Drama, and Text, Princeton: Princeton University Press. (Second edition with a new preface and final chapter, Ithaca, NY: Cornell University Press, 1999.) (Scholar)
–––, 1989, Sound Sentiment: An Essay on the Musical Emotions, including the complete text of “The Corded Shell”, Philadelphia: Temple University Press. (Scholar)
–––, 1990, Music Alone: Philosophical Reflections on the Purely Musical Experience, Ithaca, NY: Cornell University Press. (Scholar)
–––, 1993, The Fine Art of Repetition: Essays in the Philosophy of Music, Cambridge: Cambridge University Press. (Scholar)
–––, 1994, “Speech, Song, and the Transparency of Medium: A Note on Operatic Metaphysics”, Journal of Aesthetics and Art Criticism, 52(1): 63–68. doi:10.2307/431585 (Scholar)
–––, 1995, Authenticities: Philosophical Reflections on Musical Performance, Ithaca, NY: Cornell University Press. (Scholar)
–––, 1997a, “Music in the Movies: A Philosophical Enquiry”, in Film Theory and Philosophy, R. Allen & M. Smith (eds.), Oxford: Oxford University Press. 308–28. (Scholar)
–––, 1997b, Philosophies of Arts: An Essay in Differences, Cambridge: Cambridge University Press. (Scholar)
–––, 1999, “Feeling the Musical Emotions”, British Journal of Aesthetics, 39(1): 1–13. doi:10.1093/bjaesthetics/39.1.1 (Scholar)
–––, 2001, “Music in Memory and Music in the Moment”, in New Essays on Musical Understanding, Oxford: Oxford University Press, pp. 183–217. (Scholar)
–––, 2002, Introduction to a Philosophy of Music, Oxford: Oxford University Press. (Scholar)
–––, 2003, “Another Go at Musical Profundity: Stephen Davies and the Game of Chess”, British Journal of Aesthetics, 43(4): 401–11. doi:10.1093/bjaesthetics/43.4.401 (Scholar)
–––, 2008, “Musical Morality”, Revue Internationale de Philosophie, 238: 397–412. (Scholar)
Kleinschmidt, Shieva & Jacob Ross, 2012, “Repeatable Artwork Sentences and Generics”, in Mag Uidhir 2012a: 125–57. (Scholar)
Langer, Susanne K., 1953, Feeling and Form, London: Routledge & Kegan Paul. (Scholar)
Lerdahl, Fred & Ray S. Jackendoff, 1983, A Generative Theory of Tonal Music, Cambridge, MA: MIT Press. (Scholar)
Letts, Philip, 2015, “Against Kania’s Fictionalism about Musical Works”, British Journal of Aesthetics, 55(2): 209–24. doi:10.1093/aesthj/ayu102 (Scholar)
–––, 2018, “The Property Theory of Musical Works”, Journal of Aesthetics and Art Criticism, 76(1): 57–69. (Scholar)
Levinson, Jerrold, 1980, “What a Musical Work Is”, Journal of Philosophy, 77(1): 5–28. doi:10.2307/2025596 (Scholar)
–––, 1982, “Music and Negative Emotion.” Reprinted in Levinson 1990f: 306–35. (Scholar)
–––, 1984, “Hybrid Art Forms”, The Journal of Aesthetic Education, 18(4): 5–13. doi:10.2307/3332623 (Scholar)
–––, 1987, “Song and Music Drama”, in Levinson 1990f: 42–59. (Scholar)
–––, 1990a, “The Concept of Music”, in Levinson 1990f: 267–78. (Scholar)
–––, 1990b, “What a Musical Work Is, Again”, in Levinson 1990f: 215–63. (Scholar)
–––, 1990c, “Authentic Performance and Performance Means”, in Levinson 1990f: 393–408. (Scholar)
–––, 1990d, “Musical Literacy”, The Journal of Aesthetic Education, 24(1): 17–30. doi:10.2307/3332852; reprinted in Levinson 1996c: 27–41 [page reference is to the reprint]. (Scholar)
–––, 1990e, “Evaluating Musical Performance”, in Levinson 1990f: 376–92. (Scholar)
–––, 1990f, Music, Art, and Metaphysics, Ithaca, NY: Cornell University Press. (Scholar)
–––, 1992, “Pleasure and the Value of Works of Art”, British Journal of Aesthetics, 32(4): 295–306. Reprinted in Levinson 1996c: 11–24. doi:10.1093/bjaesthetics/32.4.295 (Scholar)
–––, 1993, “Performative vs Critical Interpretation in Music”, The Interpretation of Music, Michael Krausz (ed.), Oxford : Clarendon Press. 33–60. Reprinted in Levinson 1996c: 60–89. (Scholar)
–––, 1996a, “Musical Expressiveness”, in Levinson 1996c: 90–125. (Scholar)
–––, 1996b, “Film Music and Narrative Agency”, in Bordwell & Carroll 1996: 254–88. Reprinted in Contemplating Art: Essays in Aesthetics, Oxford: Oxford University Press, 2006, pp. 143–83. (Scholar)
–––, 1996c, The Pleasures of Aesthetics, Ithaca, NY: Cornell University Press. (Scholar)
–––, 1997, Music in the Moment, Ithaca, NY: Cornell University Press. (Scholar)
–––, 1999, “Reply to commentaries on Music in the Moment”, Music Perception, 16(4): 485–94. doi:10.2307/40285805 (Scholar)
––– (ed.), 2003, The Oxford Handbook of Aesthetics, Oxford: Oxford University Press. doi:10.1093/oxfordhb/9780199279456.001.0001 (Scholar)
–––, 2006a, “Concatenationism, Architectonicism, and the Appreciation of Music”, Revue Internationale de Philosophie, 238: 505–14. (Scholar)
–––, 2006b, “Musical Expressiveness as Hearability-as-expression”, in Kieran 2006: 192–206. (Scholar)
–––, 2012, “Indication, Abstraction, and Individuation”, in Mag Uidhir 2012: 49–61. doi:10.1093/acprof:oso/9780199691494.003.0003 (Scholar)
–––, 2013, “Popular Song as Moral Microcosm: Life Lessons from Jazz Standards”, Royal Institute of Philosophy Supplement, 71: 51–66. doi:10.1017/s1358246112000264 (Scholar)
Love, Stefan Caris, 2016, “The Jazz Solo as Virtuous Act”, Journal of Aesthetics and Art Criticism, 74(1): 61–74. doi:10.1111/jaac.12238 (Scholar)
Magnus, P.D., 2012, Scientific Enquiry and Natural Kinds: From Planets to Mallards, London: Palgrave Macmillan. doi:10.1057/9781137271259 (Scholar)
–––, 2016, “Kind of Borrowed, Kind of Blue”, Journal of Aesthetics and Art Criticism, 74(2): 179–85. (Scholar)
–––, 2022, A Philosophy of Cover Songs, Cambridge: Open Book. doi:10.11647/obp.0293 (Scholar)
Mag Uidhir, Christy (ed.), 2012a, Art and Abstract Objects, Oxford: Oxford University Press. doi:10.1093/acprof:oso/9780199691494.001.0001 (Scholar)
–––, 2012b, “Introduction: Art, Metaphysics, and the Paradox of Standards”, in Mag Uidhir 2012a: 1–26. (Scholar)
Matheson, Carl & Ben Caplan, 2011, “Ontology”, in Gracyk & Kania 2011: 38–47. (Scholar)
Matravers, Derek, 1998, Art and Emotion, Oxford: Clarendon. doi:10.1093/acprof:oso/9780199243167.001.0001 (Scholar)
–––, 2011, “Arousal Theories”, in Gracyk & Kania 2011: 212–22. (Scholar)
Maus, Fred Everett, 1999, “Musical Performance as Analytical Communication”, in Performance and Authenticity in the Arts, Salim Kemal & Ivan Gaskell (eds.), Cambridge: Cambridge University Press, pp. 129–53. doi:10.1017/cbo9780511520051.007 (Scholar)
–––, 2011, “Music and Gender”, in Gracyk & Kania 2011: 569–80. (Scholar)
McAuley, Tomás, Nanette Nielsen, Jerrold Levinson, & Ariana Phillips-Hutton (eds.), 2021, The Oxford Handbook of Western Music and Philosophy, Oxford: Oxford University Press. doi:10.1093/oxfordhb/9780199367313.001.0001 (Scholar)
McClary, Susan, 1991, Feminine Endings: Music, Gender, and Sexuality, Minneapolis: University of Minnesota Press. (Scholar)
McKeown-Green, Jonathan, 2014, “What is Music? Is There a Definitive Answer?” Journal of Aesthetics and Art Criticism, 72(4): 393–403. (Scholar)
Meyer, Leonard B., 1956, Emotion and Meaning in Music, Chicago, IL: University of Chicago Press. (Scholar)
Millikan, Ruth Garrett, 1984, Language, Thought, and Other Biological Categories: New Foundations for Realism, Cambridge, MA: MIT Press. (Scholar)
–––, 2000, On Clear and Confused Ideas: An Essay about Substance Concepts, Cambridge: Cambridge University Press. (Scholar)
Moruzzi, Caterina, 2018, “Every Performance Is a Stage”, Journal of Aesthetics and Art Criticism, 76(3): 341–51. (Scholar)
Neufeld, Jonathan A., 2012, “Critical Performances”, Teorema, 31(3): 89–104. (Scholar)
Nussbaum, Charles O., 2007, The Musical Representation: Meaning, Ontology, and Emotion, Cambridge, MA: MIT Press. (Scholar)
–––, 2021, “Ontology”, in The Oxford Handbook of Western Music and Philosophy, Tomás McAuley, Nanette Nielsen, Jerrold Levinson, & Ariana Phillips-Hutton (eds.), Oxford: Oxford University Press, pp. 325–344. doi:10.1093/oxfordhb/9780199367313.013.17 (Scholar)
Penner, Nina, 2020, Storytelling in Opera and Musical Theater, Bloomington, IN: Indiana University Press. (Scholar)
Predelli, Stefano, 1995, “Against Musical Platonism”, British Journal of Aesthetics, 35(4): 338–50. doi:10.1093/bjaesthetics/35.4.338 (Scholar)
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