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  1. Vom Musikalisch-Schönen: psychologische Betrachtungen.Alfred Helle - 1921 - Regensburg: G. Bosse.
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  2. Grundlagen einer autonomen musikästhetik.Ernst Georg Wolff - 1934 - Strassburg: Heitz.
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  3. Schopenhauer's Aesthetic Ideology.Michel-Antoine Xhignesse - 2023 - In David Bather Woods & Timothy Stoll (eds.), The Schopenhauerian Mind. New York: Routledge. pp. 127-40.
    Schopenhauer’s aesthetics is perhaps the best-known aspect of his thinking, but much of that impact has been the indirect result of his influence on particular artists such as Mahler and Wagner. This chapter traces the foundations of Schopenhauer’s aesthetics in Plato’s doctrine of Forms (Ideas). Despite the tension between Plato’s pluralist and Schopenhauer’s monist ontologies, Schopenhauer’s aesthetics is permeated with concern for the role of Platonic Ideas in shaping our creation and engagement with art, from his distinction between subjective and (...)
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  4. Ėsteticheskai︠a︡ priroda zhanra v muzyke.Arnolʹd Naumovich Sokhor - 1968 - Moskva: Muzyka.
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  5. Les principes de la sociologie de la musique.Alphons Silbermann - 1968 - Genève: Droz.
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  6. Vom Dienst der Kunst.Otto Lauterburg - 1968 - Gstaad: Buchdruckerei Müller.
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  7. Musikanschauung und Wirklichkeitsbegriff.Herbert Karl Kraft - 1968 - [Haarlem: University Press.
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  8. Filosofski i esteticheski problemi na muzikata.Vasil Andreev Koev - 1968 - Sofia: Nauka i izkustvo.
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  9. Tektonika.Karel Janeček - 1968 - Praha: Supraphon.
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  10. Folk Song as Hybrid Art Form.David Atkinson - 2022 - British Journal of Aesthetics 62 (3):419-430.
    A number of philosophers of music have proved resistant to the idea that song should be considered as a hybrid art that combines language and music. Separately, Levinson in his influential account of hybrid art forms does not admit folk song, even though he does allow nineteenth-century lieder into the hybrid category. Folk songs are sometimes treated as if they are anterior to and therefore ontologically distinct from the more complex songs of Western art music, or even of modern popular (...)
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  11. Ethos und Affekt.Dénes Zoltai - 1970 - Budapest: Akadémiai Kiadó.
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  12. Two Kinds of “Bad” Musical Performance: Musical and Moral Mistakes.Justin London - 2021 - Journal of Aesthetics and Art Criticism 79 (3):328-340.
    There are many ways in which a musical performance can be “bad,” but here the focus is on two: those performances that make you laugh, and those that make you angry. These forms of musical badness, however, are not primarily compositional deficits, but either (a) that the performer simply cannot competently deliver the music to their audience, inducing laughter, or (b) that the performer exhibits some form of disrespect, provoking anger. Such laughter or anger stems from failure of the expected (...)
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  13. Der Widerspruch in der Musik.Rudolf Louis - 1972 - [Walluf b. Wiesbaden]: Dr. Martin Sändig oHG.
    Rudolf Louis untersucht in diesem Buch den Widerspruch in der Musik. Er zeigt, wie Komponisten mit Widersprüchen umgehen und wie diese teilweise zu großen Kunstwerken führen können. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as (...)
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  14. 中国音乐教育与国际音乐教育 [Chinese Music Education and International Music Education] by Jianhua Guan (review).Mengchen Lu - 2023 - Philosophy of Music Education Review 31 (2):194-198.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:中国音乐教育与国际音乐教育 [Chinese Music Education and International Music Education] by Jianhua GuanMengchen LuJianhua Guan, 中国音乐教育与国际音乐教育 [Chinese Music Education and International Music Education] (Nanjing: Nanjing Normal University Press, 2013)In Chinese Music Education and International Music Education, Jianhua Guan examined Chinese music education and curriculum in relation to other countries’ music education through the lenses of internationalization. Written in Chinese, there were three sections with several chapters in each and one (...)
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  15. The Public-Educational Musings of Benjamin Britten: Toward A Post-Critical Love For Classical Music.Lierin Buelens, Joris Vlieghe, Thomas De Baets & Wiebe Sieds Koopal - 2023 - Philosophy of Music Education Review 31 (2):170-186.
    In this paper we discuss the musical work of classical composer Benjamin Britten as a lasting legacy for public music education. Our starting point is the contemporary urgency to rethink both public music education in general, and the public-educational significance of Western classical music in particular, in the face of the dual threats posed by anti-educational tendencies of “functionalization” and “hobbyfication.” Relating this situation to concerns already voiced by Britten in his time, we consider in what ways aspects of Britten’s (...)
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  16. Words and Music: Considering the Musicianship of Lyric Writing.Stuart Chapman Hill - 2023 - Philosophy of Music Education Review 31 (2):121-135.
    Popular songs are ubiquitous in the lives of school-age children, but the construction of traditional school music curricula does not always provide an adequate framework for studying them. In particular, the salience of words qua lyrics is an inescapable feature of popular songs, and recognizing the musical properties of those lyrics opens for study an important dimension of the real-world music that students of all ages engage so readily. Rather than treating song lyrics as separate from the music, I here (...)
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  17. Musik–Vielfalt–Integration–Inklusion: Musikdidaktik für die eine Schule [Music–Diversity–Inclusion–Integration: A New Philosophy of Music Education for an Inclusive School] by Irmgard Merkt (review).Beatrice McNamara - 2023 - Philosophy of Music Education Review 31 (2):187-193.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Musik–Vielfalt–Integration–Inklusion: Musikdidaktik für die eine Schule [Music–Diversity–Inclusion–Integration: A New Philosophy of Music Education for an Inclusive School] by Irmgard MerktBeatrice McNamaraIrmgard Merkt, Musik–Vielfalt–Integration–Inklusion: Musikdidaktik für die eine Schule [Music–Diversity–Inclusion–Integration: A New Philosophy of Music Education for an Inclusive School] (Regensburg: Conbrio, 2019)Irmgard Merkt, a German music education scholar, is a pioneer of intercultural music education with regard to the development of the concept Schnittstellensansatz, literally “interface approach,” as (...)
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  18. Opening Up to the Unexpected: Reclaiming Emotion and Power in the Public Space of Music Education.David Lines & Daniela Bartels - 2023 - Philosophy of Music Education Review 31 (2):155-169.
    Music education is a social act oriented around interactions between people in public spaces. These spaces provide opportunities for what Hannah Arendt calls natality, which we interpret as new and unexpected actions that arise in a shared space. Drawing from a range of ideas and experiences of Arendt, bell hooks, Joan Baez, Martha Nussbaum, and music education philosophers and practitioners, we argue that it is important for music educators to make room for this space by becoming more critically aware of (...)
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  19. Music for All or Partisan Advocacy? Exploring Socialized Epistemologies.J. Paul Louth & Lauren Kapalka Richerme - 2023 - Philosophy of Music Education Review 31 (2):136-154.
    When novice music educators abandon their expressed dedication to forward-looking ideas like equity, epistemological distinctions between belief and knowledge, or lack of such distinctions, may influence such action. Political philosopher Russell Hardin argued that it makes sense for people to hold false, conflicting, and even extreme beliefs. Drawing on his work, we consider how social influences may encourage music educators to adopt a view of knowledge as the acquisition of information that is useful rather than truthful in the sense of (...)
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  20. Editorial Reflections on Philosophizing in Music Education.Estelle R. Jorgensen & Iris M. Yob - 2023 - Philosophy of Music Education Review 31 (2):109-120.
    In lieu of an abstract, here is a brief excerpt of the content:Editorial Reflections on Philosophizing in Music EducationEstelle R. Jorgensen and Iris M. YobIn this article, we reflect on issues that go to the heart of teaching and scholarship in the philosophy of music education. After thirty years of editing Philosophy of Music Education Review, it is a good time to take stock of the philosophical work that has been and is being published and of challenges that remain.Over the (...)
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  21. Temas de estética y de historia de la música: con textos de numerosísimos autores de diferentes épocas.Joaquín Zamacois - 1975 - Barcelona: Labor.
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  22. Das Wesen des Musikalischen und Tonerlebnis im Menschen: Acht Vorträge, drei Fragenbeantwortungen und zwei Schlussworte, gehalten in Köln, Berlin, Leipzig, Dornach und Stuttgart in den Jahren 1906 und 1920 bis 1923.Rudolf Steiner - 1975 - Dornach: Rudolf-Steiner-Verlag.
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  23. In the Face of Death.James Cartlidge - forthcoming - In Warren Zevon and Philosophy: Beyond Reptile Wisdom. Peru, IL: Carus Books. pp. 187-198.
    Warren Zevon’s musical career, though brilliant throughout, is particularly notable for its ending: diagnosed with a terminal illness, Zevon refused a potentially debilitating medical treatment to put his remaining energy into recording another album. The resulting record –2003’s 'The Wind' – was in many ways the perfect farewell: songs of dirty, dark, uncompromising, country-tinged rock, blistering guitar solos, all mixed with intelligent, black-as-coal gallows humour. But it was also a moving farewell to his fans, a heartfelt, personal reflection on his (...)
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  24. En évoquant Wagner: la musique comme mensonge et comme vérité.Francis Pagnon - 1981 - Paris: Editions Champ libre.
    Un admirable récit-reportage (1938) où l'auteur, qui a pris part à la guerre civile espagnole dans les rangs des milices anarchistes du POUM, raconte la lutte anti-franquiste mais aussi et surtout l'annihilation du POUM par les communistes espagnols. De ces événements devaient surgir le pessimisme de Orwell et sa hantise du totalitarisme, traits marquants de la suite de son oeuvre (##La ferme des animaux##, ##1984##).
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  25. Der musikalische Weg zum Geist: Grundzüge der Kunst, musikalisch zu denken und zu leben.George Bǎlan - 1981 - Neustadt/Aisch: H. Schmelzer.
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  26. A History of Western Philosophy of Music.Jennifer Judkins - forthcoming - Journal of Aesthetics and Art Criticism.
    It is not every day that one sees the Scolia Enchiriadis, a ninth-century music theory treatise, mentioned in the Journal of Aesthetics and Art Criticism. Yet h.
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  27. A Dual-Process Model of Xunzi’s Philosophy of Music (after minor corrections).Hannah H. Kim - forthcoming - Journal of Aesthetics and Art Criticism.
    Music, alongside ritual, plays an important role in Confucian moral education. Among all the Confucians, Xunzi gives music the most radical ability to transform people, and this is striking given his pessimistic view of human nature. Though he set the standard for Chinese aesthetics for millennia, there is no systematic account that brings together Xunzi’s various commitments: that only music from virtuous previous dynasties are morally conducive, that music can bring about lasting character change, that even those uninterested in moral (...)
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  28. Zhongguo xi qu yu Zhongguo zong jiao.Youde Zhou - 1990 - Beijing: Xin hua shu dian zong dian Beijing fa xing suo jing xiao.
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  29. Ėkologii︠a︡ muzykalʹnoĭ kulʹtury.Leonidas Melnikas - 2000 - Moskva: "Kompozitor,".
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  30. Der lange Weg zur Compact Disc.Friedrich Kittler - 2000 - In Sigrit Fleiss & Ina Gayed (eds.), Amor vincit omnia: Karajan, Monteverdi und die Entwicklung der Neuen Medien: Symposium 1999. Zsolnay.
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  31. Klangkörper.Manfred Angerer - 2000 - In Sigrit Fleiss & Ina Gayed (eds.), Amor vincit omnia: Karajan, Monteverdi und die Entwicklung der Neuen Medien: Symposium 1999. Zsolnay.
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  32. Barocke Installationen : Die Raumkunst des Barock, gesehen aus dem Blickwinkel der modernen Videokunst.Felix Burda-Weber - 2000 - In Sigrit Fleiss & Ina Gayed (eds.), Amor vincit omnia: Karajan, Monteverdi und die Entwicklung der Neuen Medien: Symposium 1999. Zsolnay.
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  33. Der Rest des Trauerspiels heisst Musik.William van Reijen - 2000 - In Sigrit Fleiss & Ina Gayed (eds.), Amor vincit omnia: Karajan, Monteverdi und die Entwicklung der Neuen Medien: Symposium 1999. Zsolnay.
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  34. Komposition : ein "niederträchtiges" Wort?Werner Hofmann - 2000 - In Sigrit Fleiss & Ina Gayed (eds.), Amor vincit omnia: Karajan, Monteverdi und die Entwicklung der Neuen Medien: Symposium 1999. Zsolnay.
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  35. Aktualität des Barock : Illusion in Simulation oder Simulation in Illusion?Burghart Schmidt - 2000 - In Sigrit Fleiss & Ina Gayed (eds.), Amor vincit omnia: Karajan, Monteverdi und die Entwicklung der Neuen Medien: Symposium 1999. Zsolnay.
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  36. Monteverdi zwischen Humanismus und Inquisition.Peter Godman - 2000 - In Sigrit Fleiss & Ina Gayed (eds.), Amor vincit omnia: Karajan, Monteverdi und die Entwicklung der Neuen Medien: Symposium 1999. Zsolnay.
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  37. Clamor Vincit Omnia : the decline of love and the emergence of music.Gary Tomlinson - 2000 - In Sigrit Fleiss & Ina Gayed (eds.), Amor vincit omnia: Karajan, Monteverdi und die Entwicklung der Neuen Medien: Symposium 1999. Zsolnay.
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  38. A dio, musico spirto : Kraack, Karajan und die Krönung des Poppaea.Silke Leopold - 2000 - In Sigrit Fleiss & Ina Gayed (eds.), Amor vincit omnia: Karajan, Monteverdi und die Entwicklung der Neuen Medien: Symposium 1999. Zsolnay.
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  39. Zu diesem Band.Sigrit Fleiss - 2000 - In Sigrit Fleiss & Ina Gayed (eds.), Amor vincit omnia: Karajan, Monteverdi und die Entwicklung der Neuen Medien: Symposium 1999. Zsolnay.
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  40. Contingencies of meaning in transcriptions and excerpts : popularizing Samson et Dalila.Jann Pasler - 2006 - In Byron Almén & Edward Pearsall (eds.), Approaches to meaning in music. Indiana University Press.
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  41. The sacrificed hero : creative mythopoesis in Mahler's Wunderhorn symphonies.Byron Almén - 2006 - In Byron Almén & Edward Pearsall (eds.), Approaches to meaning in music. Indiana University Press.
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  42. Uncanny moments : juxtaposition and the collage principle in music.Nicholas Cook - 2006 - In Byron Almén & Edward Pearsall (eds.), Approaches to meaning in music. Indiana University Press.
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  43. A simple model for associative musical meaning.J. Peter Burkholder - 2006 - In Byron Almén & Edward Pearsall (eds.), Approaches to meaning in music. Indiana University Press.
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  44. The troping of temporality in music.Robert S. Hatten - 2006 - In Byron Almén & Edward Pearsall (eds.), Approaches to meaning in music. Indiana University Press.
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  45. Anti-teleological art : articulating meaning through silence.Edward Pearsall - 2006 - In Byron Almén & Edward Pearsall (eds.), Approaches to meaning in music. Indiana University Press.
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  46. Anatomy of a gesture : from Davidovsky to Chopin and back.Patrick McCreless - 2006 - In Byron Almén & Edward Pearsall (eds.), Approaches to meaning in music. Indiana University Press.
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  47. The divining rod : on imagination, interpretation, and analysis.Edward Pearsall & Byron Almén - 2006 - In Byron Almén & Edward Pearsall (eds.), Approaches to meaning in music. Indiana University Press.
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  48. Approaches to meaning in music.Byron Almén & Edward Pearsall (eds.) - 2006 - Bloomington: Indiana University Press.
    Approaches to Meaning in Music presents a survey of the problems and issues inherent in pursuing meaning and signification in music, and attempts to rectify the conundrums that have plagued philosophers, artists, and theorists since the time of Pythagoras. This collection brings together essays that reflect a variety of diverse perspectives on approaches to musical meaning. Established music theorists and musicologists cover topics including musical aspect and temporality, collage, borrowing and association, musical symbols and creative mythopoesis, the articulation of silence, (...)
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  49. Tradizione e talento individuale.T. S. Eliot - 2002 - In Emanuele Ferrari (ed.), La scuola di Milano e l'estetica musicale. CUEM.
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  50. L'anarchia nella musica.Th von Hartmann - 2002 - In Emanuele Ferrari (ed.), La scuola di Milano e l'estetica musicale. CUEM.
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1 — 50 / 6649