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Anthony Gritten [12]A. Gritten [3]
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  1.  3
    The Routledge Companion to Performance Philosophy.Laura Cull Ó Maoilearca, Alice Lagaay, Ira Avneri, Freddie Rokem, Jerri Daboo, Michael Ellison, Hannah McClure, Andres Fabien Henao Castro, David Kornhaber, Anthony Gritten, Laura Cull ó Maoilearca, Sreenath Nair, Will Daddario, Esther Neff, Yelena Gluzman, Fumi Okiji & Theron Schmidt (eds.) - 2020 - Routledge.
    The Routledge Companion to Performance Philosophy is a volume of especially commissioned critical essays, conversations, collaborative, creative and performative writing mapping the key contexts, debates, methods, discourses and practices in this developing field. Firstly, the collection offers new insights on the fundamental question of how thinking happens: where, when, how and by whom philosophy is performed. Secondly, it provides a plurality of new accounts of performance and performativity as the production of ideas, bodies and knowledges in the arts and beyond. (...)
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  2. Book Review: Sounds: A Philosophical Theory; Sounds and Perception: New Philosophical Essays.A. Gritten - 2012 - British Journal of Aesthetics 52 (4):430-434.
  3. Music, Tendencies, and Inhibitions: Reflections on a Theory of Leonard Meyer.Anthony Gritten - 2003 - British Journal of Aesthetics 43 (2):194-196.
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  4.  34
    Literary Music: Writing Music in Contemporary Fiction.Anthony Gritten - 2008 - Journal of Aesthetics and Art Criticism 66 (1):99-102.
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  5.  27
    Music, Language, and Cognition: And Other Essays in the Aesthetics of Music.Anthony Gritten - 2008 - Journal of Aesthetics and Art Criticism 66 (3):314-317.
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  6.  25
    The Subject (of) Listening.Anthony Gritten - 2014 - Journal of the British Society for Phenomenology 45 (3):203-219.
    Jean-Luc Nancy's phenomenology of listening makes a series of claims about the sonic/auditory nature of the subject. First among these is the claim that the subject is a subject to the extent that it is listening, that it is all ears. The subject emerges on the back of the resonance of timbre in the body and the body's becoming-rhythmic. These claims are phrased often in musical terms, or making use of terms and rhetoric from the domains of music theory and (...)
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  7.  67
    Themes in the Philosophy of Music.Anthony Gritten - 2004 - British Journal of Aesthetics 44 (2):188-194.
  8. Performing After Recording.Anthony Gritten - 2008 - In Mine Doğantan (ed.), Recorded Music: Philosophical and Critical Reflections. Middlesex University Press.
     
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  9.  54
    Review: The Improvisation of Musical Dialogue: A Phenomenology of Music. [REVIEW]A. Gritten - 2005 - British Journal of Aesthetics 45 (2):197-199.
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  10.  13
    Critical Musicology and the Responsibility of Response: Selected Essays: Book Reviews. [REVIEW]Anthony Gritten - 2009 - British Journal of Aesthetics 49 (3):307-310.
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  11.  22
    Aesthetics and Music by Hamilton, Andy.Anthony Gritten - 2011 - Journal of Aesthetics and Art Criticism 69 (3):342-344.
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  12.  81
    The Spheres of Music: A Gathering of Essays.Anthony Gritten - 2001 - British Journal of Aesthetics 41 (4):449-451.
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  13.  10
    Kramer, Lawrence. Interpreting Music. University of California Press, 2011, Viii + 322 Pp., $60.00 Cloth, $24.95 Paper. [REVIEW]Anthony Gritten - 2013 - Journal of Aesthetics and Art Criticism 71 (2):217-219.
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  14.  7
    The Finale in Western Instrumental Music.Anthony Gritten - 2002 - British Journal of Aesthetics 42 (3):333-335.
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  15.  4
    Beyond Structural Listening? Postmodern Modes of Hearing.A. Gritten - 2006 - British Journal of Aesthetics 46 (4):435-438.
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