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  1. Tendere l’orecchio. L’attenzione nel processo uditivo: neuroscienze e antropologia in dialogo.Elia Gonnella - 2022 - Palaver 11 (2):231-248.
    Psychological and neuroscientific inquiry pointed out the value of attention for auditory perception. Recent studies have identified that the problem is not one of finding a location for a given task, but of identifying how and what one wants to do with a given stimulus. This radicalises the problem of attention in perception. In this paper I try bring experimental research into dialogue with social role of emotions and attention in sonorous and musical field from the point of view of (...)
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  2. The Growth of Modern Acoustics.Ivano Zanzarella - manuscript
    This essay aims to inquiry into the main factors responsible for the growth of modern acoustics, which basically have to be traced back to the empirical turn occurred in science of music around 1600. Helmholtz’s theory of sound will be regarded as most scientifically significant archetype of modern acoustics. In Section 1 a general historical overview of the science of music will be given and its importance for the development of modern science and mathematics considered. In Section 2 the internal (...)
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  3. Mixing for Parlak and Bowing for a Büyük Ses: The Aesthetics of Arranged Traditional Music in Turkey.Eliot Bates - 2010 - Ethnomusicology 54 (1):81-105.
    In this paper I explore the production aesthetics that define the sound of most arranged traditional music albums produced in the early 2000s in Istanbul,Turkey. I will focus on two primary aesthetic characteristics, the achievement of which consume much of the labor put into tracking and mix- ing: parlak (“shine”) and büyük ses (“big sound”). Parlak, at its most basic, consists of a pronounced high frequency boost and a pattern of harmonic distortion characteristics,and is often described by studio musicians and (...)
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  4. Giambattista Vico on Natural Law: Religion, Rhetoric, and Sensus Communis.John D. Schaeffer - 2019 - New York, NY: Routledge.
    This book introduces the thought of Giambattista Vico into the discussion about natural law. For many critics, natural law is not natural but a façade behind which lurks the supernatural - that is, revealed religion. While current notions of natural law are based on either Aristotelian/Thomistic principles or on Enlightenment rationalism, the book shows how Vico was the only natural law thinker to draw on the Roman legal tradition, rather than on Greek or Enlightenment philosophy. Specifically, the book addresses how (...)
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  5. Rhetorical Investigations: G. B. Vico and C. G. Jung.Leslie Gardner - 2013 - Routledge.
    Rhetorical analysis of texts exposes plausible ‘truths’ and presumptions implied by the writer’s presentation. In this volume, Leslie Gardner analyses the master psychologist Jung, who claimed to be expert at uncovering personal, psychological truths. In his theoretical writings, his rhetoric reveals philosophical ramifications which bear strong similarities to those of the rhetorician of the 18th century, Italian philosopher Giambattista Vico. This book is driven by an interest in arguing that it is possible to read Jung’s works easily enough when you (...)
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  6. Time & Idea: The Theory of History in Giambattista Vico.A. Robert Caponigri - 2004 - Routledge.
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  7. The Philosophy of Giambattista Vico.Benedetto Croce - 2002 - Routledge.
    Giambattista Vico is often regarded as the beleaguered, neglected genius of pre-Enlightenment Naples. His work-though known to Herder, Coleridge, Matthew Arnold, and Michelet-widely and deeply appreciated only during the twentieth century. Although Vico may be best known for the use James Joyce made of his theories in Finnegans Wake, Croce's insightful analysis of Vico's ideas played a large role in alerting readers to his unique voice. Croce's volume preceded Joyce's creation of "Mr. John Baptister Vickar" by a quarter century. During (...)
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  8. Una fenomenologia all’ascolto. Epochè, intenzionalità e costituzione del sonoro.Elia Gonnella - 2020 - Dialegesthai. Rivista Telematica di Filosofia 21.
    L'articolo analizza i fondamenti delle indagini percettive nell'impostazione fenomenologica. In particolare l'ambito uditivo si struttura in modalità, ricezioni ed analisi che, attraverso la critica di vari autori (Husserl, Heidegger, Dufrenne, Ihde, Schaeffer), si mostrano articolate in due direzioni (soggetto-oggetto e oggetto-soggetto). L' analisi delle componenti costitutive porta a riconoscere come ricorrente tra autori differenti quell'impostazione del problema la quale asserisce che, se da un lato non può prescindere dall'attività percettiva, come attività propria del soggetto, dall'altro questa stessa cerca una legittimità (...)
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  9. Dalla "mente" di Vico alla "ideologia delle genti". Carlo Cattaneo alle origini della filosofia italiana moderna.Gianni Paganini - 2021 - Rivista di Storia Della Filosofia 3:479-489.
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  10. The Pragmatic Constraint and Revisionary Ontologies of Art.Eric Wilkinson - 2021 - American Society for Aesthetics Graduate E-Journal 13 (1):19-22.
    At the heart of Anders Pettersson’s 2017 book, The Idea of a Text and the Nature of Textual Meaning, is his proposed “cluster” definition of a textual work. On this view, a text is a cluster of three kinds of objects: all the physical exemplars of the work, the work’s meaning, and the complex signs that convey that meaning. Pettersson contrasts this with the “ordinary conception” of a text, wherein a text is a unitary object made of the signs and (...)
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  11. Musikalske omgangsformer [Musicking as a form of life].Carl Erik Kühl - 1973 - Norsk Filosofisk Tidsskrift 1:1-20.
    Denne artikel hedder ”Musikalske Omgangsformer”. Men den fortæller ikke så meget om, hvorledes musikalske omgangsformer tager sig ud, som den fører til et punkt, hvor musikalske omgangsformer bliver sigtbare og påtrængende. Snarere end at præsentere en teori om musikalske omgangsformer anviser den et sted, hvor en teoridannelse er påkrævet. Udgangspunktet bliver en påvisning af, hvorledes den fænomenologiske tilgang til det musikalske fænomen svigter ved tematisk og dog stiltiende at hævde musikstykket, satsen, som sin genstand. Utilstrækkeligheden påpeges inden for den fænomenologiske (...)
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  12. Hiromi's Voice (Multi-Channel Mathematics).Ilexa Yardley - 2021 - Https://Medium.Com/Musical-Notes/.
    Using Hiromi’s ‘Voice’ to understand ‘physics.’ (The underlying relationship between mind and music.) (The relationship between mind and mathematics.) The relationship between the arithmetic numbers 'two' and 'three.' The relationship between light (an infinite line) and sound (an infinite circle) (where it is impossible to have one without the other).
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  13. Methodology in the Ontology of Artworks: Exploring Hermeneutic Fictionalism.Elisa Caldarola - 2020 - In Concha Martinez Vidal & José Luis Falguera Lopez (ed.), Abstract Objects: For and Against.
    There is growing debate about what is the correct methodology for research in the ontology of artworks. In the first part of this essay, I introduce my view: I argue that semantic descriptivism is a semantic approach that has an impact on meta-ontological views and can be linked with a hermeneutic fictionalist proposal on the meta-ontology of artworks such as works of music. In the second part, I offer a synthetic presentation of the four main positive meta-ontological views that have (...)
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  14. Debugging the Case for Creationism.Patrick Grafton-Cardwell - 2020 - Philosophical Studies 177 (11):3509-3527.
    Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...)
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  15. Interstitial Soundings: Philosophical Reflections on Improvisation, Practice, and Self-Making.Cynthia R. Nielsen - 2015 - Wipf and Stock Publishers.
    In Interstitial Soundings, Cynthia R. Nielsen brings music and philosophy into a fruitful and mutually illuminating dialogue. Topics discussed include the following: music's dynamic ontology, performers and improvisers as co-composers, the communal character of music, jazz as hybrid and socially constructed, the sociopolitical import of bebop, Afro-modernism and its strategic deployments, jazz and racialized practices, continuities between Michel Foucault's discussion of self-making and creating one's musical voice, Alasdair MacIntyre on practice, and how one might harmonize MacIntyre's notion of virtue development (...)
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  16. Introduction to the Symposium on Christy Mag Uidhir's Art and Art-Attempts.Sherri Irvin - 2018 - Journal of Aesthetic Education 52 (2):1.
    Christy Mag Uidhir’s Art and Art-Attempts begins from two deceptively simple observations: artworks are the product of intentions, and intentions are the kinds of things that can fail to be realized successfully. Drawing on these observations, he argues that most contemporary theories of art must be rejected because they are not substantively intention-dependent: that is, they do not account for the fact that an attempt to make an artwork can fail. From his view that artworks must be the product of (...)
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  17. Who Is the Artist If Works of Art Are Action Types?Theodore Gracyk - 2001 - Journal of Aesthetic Education 35 (2):11.
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  18. Musical Multiculturalism Revisited.Estelle R. Jorgensen - 1998 - Journal of Aesthetic Education 32 (2):77.
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  19. Incoherence and Musical Appreciation.Matthew Kieran - 1996 - Journal of Aesthetic Education 30 (1):39.
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  20. The Performer, the Score, the Work: Musical Performance and Transactional Reading.Eleanor V. Stubley - 1995 - Journal of Aesthetic Education 29 (3):55.
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  21. Stage Theories of Musical Development.Constantijn Koopman - 1995 - Journal of Aesthetic Education 29 (2):49.
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  22. Reconceiving Notation and Performance.Paul Hernadi - 1991 - Journal of Aesthetic Education 25 (1):47.
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  23. A Return to Musical Idealism.Wesley D. Cray & Carl Matheson - 2017 - Australasian Journal of Philosophy 95 (4):702-715.
    In disputes about the ontology of music, musical idealism—that is, the view that musical compositions are ideas—has proven to be rather unpopular. We argue that, once we have a better grip on the ontology of ideas, we can formulate a version of musical idealism that is not only defensible, but plausible and attractive. We conclude that compositions are a particular kind of idea: they are completed ideas for musical manifestation.
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  24. La notion et le rôle de l'infini musical.Machabey Machabey - 1913 - Revue Philosophique de la France Et de l'Etranger 76:69-77.
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  25. Conducting And Musical Interpretation.Stephanie A. Ross & Jennifer Judkins - 1996 - British Journal of Aesthetics 36 (1):16-29.
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  26. Works of Music: An Essay in Ontology: Book Reviews. [REVIEW]Ben Caplan - 2007 - British Journal of Aesthetics 47 (4):445-446.
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  27. Musical Noise.James R. Hamilton - 1999 - British Journal of Aesthetics 39 (4):350-363.
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  28. Musical Meaning and Social Reproduction: A Case for Retrieving Autonomy.Lucy Green - 2005 - Educational Philosophy and Theory 37 (1):77-92.
    In this article I propose a theory of musical meaning and experience which takes into consideration the dialectical relationship between musical text and context, and which is flexible enough to apply to a range of musical styles. Through this theory I examine the roles played by the school music classroom which, despite the multiplicity of musical styles now incorporated into schooling, continues to contribute to the reproduction of existing social relations in the wider society. I consider how music itself can (...)
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  29. Beghinae in Cantu Instructae: Musical Patrimony From Flemish Beguinages. [REVIEW]Susan Forscher Weiss - 2011 - Speculum 86 (4):1094-1095.
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  30. Musical Works and Performances: A Philosophical Exploration. [REVIEW]Gordon Graham - 2002 - International Philosophical Quarterly 42 (3):409-410.
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  31. What Is It to Compose a Musical Work?Maria Elisabeth Reicher - 2000 - Grazer Philosophische Studien 58 (1):203-221.
    The paper deals with the question whether musical works are created or discovered. In the preliminaries some ontological presuppositions concerning the nature of a musical work setting the stage for the whole debate and the Creationist and Platonist views are discussed. The psychological concepts of creation and discovery are distinguished from their ontological counterparts and it turns out that only the ontological ones are relevant in this context and that the Creationist arguments fail to prove the point in question. Finally (...)
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  32. Nietzsche’s Musical Conception of Time.Jonathan R. Cohen - 2008 - In Manuel Dries (ed.), Nietzsche on Time and History. Walter de Gruyter. pp. 291.
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  33. Hermeneutical Poetics: A Philosophical Grounding for Consistent Performances.Claire Pennock & Dennis Packard - 2016 - Journal of Aesthetic Education 50 (3):53-72.
    Performance theorists have identified a central problem in live artistic performances— sometimes a performance is transcendently good, but more often it is not. Even the best performers give uneven performances over time, and educators are frequently at a loss as to what teaching methods will counteract this phenomenon. So how can we provide a useful approach for educators to reduce inconsistency, without sacrificing quality, in the performing arts? This is the question that we hope to address in this paper, by (...)
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  34. Kālidāsa-Kośa. A Classified Register of the Flora, Fauna, Geographical Names, Musical Instruments and Legendary Figures in Kālidāsa's WorksKalidasa-Kosa. A Classified Register of the Flora, Fauna, Geographical Names, Musical Instruments and Legendary Figures in Kalidasa's Works.Ludo Rocher, Sures Chandra Banerji, Kālidāsa & Kalidasa - 1970 - Journal of the American Oriental Society 90 (2):410.
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  35. Musical Notations of the Orient.Rulan Chao Pian & Walter Kaufmann - 1968 - Journal of the American Oriental Society 88 (3):636.
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  36. Foundations of Chinese Musical Art.J. K. Shryock & John Hazedel Levis - 1937 - Journal of the American Oriental Society 57 (2):201.
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  37. Music, Restoration, Performance and Ontology: A Guide for the Perplexed.Lisa Giombini - unknown
    I investigate the nature of the relationships between art and metaphysics in the tradition of classical music, performance art, and art restoration. The first part of the thesis is dedicated to the study of Musical Ontology. I begin in Chapter one by analyzing several theories of what a classical musical work is ontologically. I focus specifically on Idealism, Nominalism and Platonism. I defend the view that none of these proposals is fully satisfactory and able to resist objections. This leads in (...)
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  38. The Hagiopolites. A Byzantine Treatise on Musical Theory.P. Agapetos - 1984 - Byzantinische Zeitschrift 77 (2).
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  39. Forms and Meanings: Texts, Performances, and Audiences From Codex to Computer.Eric D. Friedman, Roger Chartier, Lydia G. Cochrane, Milad Doueihi & David D. Hall - 1997 - Substance 26 (1):163.
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  40. Musical Elaborations.Downing Thomas - 1994 - Substance 23 (1):147.
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  41. States, Activities and Performances.Timothy C. Potts & C. C. W. Taylor - 1965 - Aristotelian Society Supplementary Volume 39 (1):65-102.
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  42. Number to Sound: The Musical Way to the Scientific Revolution. Paolo Gozza.Jamie C. Kassler - 2001 - Isis 92 (4):769-770.
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  43. Studies in Musical Science in the Late Renaissance. D. P. Walker.Stillman Drake - 1980 - Isis 71 (2):347-348.
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  44. Musical Thought in Ancient Greece. Edward A. Lippman.Claude V. Palisca - 1965 - Isis 56 (2):237-237.
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  45. F. Salinas y la Teoría Musical de Finales Del Renacimiento.J. Javier Goldáraz Gaínza - 1998 - Arbor 160 (628):371-392.
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  46. El Cine Musical de Roberta Torre: Un Retrato Postmoderno de la Sicilia de Finales Del Siglo XX.Eduardo Viñuela - 2012 - Arbor 188 (758):1075-1085.
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  47. Skipping the Tracks. The Experience of Musical Improvisation Online.Roberto Zanetti - 2016 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):71-86.
    The present article aims at analyzing the social and ontological effects of listening music online, with particular attention to the artistic practice of improvisation. In the first paragraph, I will briefly explain the essential concepts which ontology of music has traditionally counted on, and I will suggest an alternative theoretical approach, that I define as ontology of musical act. Then I will investigate the relation between recording practices and improvisation. In the final paragraph I will compare some features of musical (...)
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  48. The Musical Legacy of Wartime France.H. Hazel Hahn - 2016 - The European Legacy 21 (2):225-227.
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  49. Musical Works as ‘Higher Times’: Concert Culture in a Secular Age.Oane Reitsma - 2016 - In Guido Vanheeswijck, Colin Jager & Florian Zemmin (eds.), Working with a Secular Age: Interdisciplinary Perspectives on Charles Taylor's Master Narrative. De Gruyter. pp. 229-244.
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  50. Musical Representation and the Evaluation of Musical Performances.Kalle Puolakka - 2010 - SATS 11 (2):219-234.
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