28 found
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  1.  84
    Wittgenstein on the Experience of Meaning and the Meaning of Music.Gilead Bar-Elli - 2006 - Philosophical Investigations 29 (3):217-249.
    An argument is presented to the effect that the ability to feel or to experience meaning conditions the ability to mean, and is thus essential to our notion of meaning. The experience of meaning is manifested in the "fine shades" of use and behavior. Theses, so obvious in music, constitute understanding music, which makes music understanding so relevant to understanding language. Applying these notions of understanding, feeling, and experience--as well as their explication in terms of comparisons, internal relation, and mastery (...)
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  2.  97
    The sense of reference: intentionality in Frege.Gilead Bar-Elli - 1996 - New York: Walter de Gruyter.
    Chapter: Sense and Intentionality A: Reference and Sense — Preliminary Remarks Few people during Frege's lifetime paid due attention to his work and its ...
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  3. Identity in Frege’s Begriffsschrift: Where Both Thau-Caplan and Heck Are Wrong.Gilead Bar-Elli - 2006 - Canadian Journal of Philosophy 36 (3):355-370.
    Frege’s views on identity continue to provoke scholars, and rightly so. In particular his view in Begriffsschrift of 1879, and its relation to his view in ‘Über Sinn und Bedeutung’ of 1892 deserve careful attention. The issues involved have a wider significance than Frege’s specific views on identity in different periods, though these are important enough. They concern also the move from what I call below ‘thin’ semantics, which is exhausted in signs being assigned content, to a ‘thick’ semantics, in (...)
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  4. Can revenge be just or otherwise justified?Gilead Bar-Elli & David Heyd - 1986 - Theoria 52 (1-2):68-86.
  5.  81
    Analyticity and Justification in Frege.Gilead Bar-Elli - 2010 - Erkenntnis 73 (2):165 - 184.
    That there are analytic truths may challenge a principle of the homogeneity of truth. Unlike standard conceptions, in which analyticity is couched in terms of "truth in virtue of meanings", Frege's notions of analytic and a priori concern justification, respecting a principle of the homogeneity of truth. Where there is no justification these notions do not apply, Frege insists. Basic truths and axioms may be analytic (or a priori), though unprovable, which means there is a form of justification which is (...)
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  6.  49
    Ideal performance.Gilead Bar-Elli - 2002 - British Journal of Aesthetics 42 (3):223-242.
    Based on a conception that a musical composition is constituted by normative properties, it is argued that every such composition has one ideal performance—a performance that fulfils all the aesthetic-normative properties that the composition determines. A performance is conceived of (and evaluated) as inherently and essentially ‘intentionalistic’—being, by its very nature, a performance of a certain composition. This conception allows for various different performances, none of which is preferable over the others. The properties concerned are conceived of broadly as comprising (...)
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  7. Sense and Objectivity in Frege's Logic.Gilead Bar-Elli - 2001 - In Albert Newen, Ulrich Nortmann & Ranier Stuhlmann-Laeisz (eds.), Building on Frege: New Essays About Sense, Content and Concepts. Center for the Study of Language and Inf. pp. 91-111.
    Important aspects of its philosophical basis, and its significance for the foundations of mathematics, appeared in The Foundations of Mathematics (FA, 1884). Six years later, at the beginning of the 1890s, Frege published three articles that mark significant changes in his conception: "Function and Concept" (FC, 1891), "On Sense and Reference" (SR, 1892) and "Concept and Object" (1892). Notable among these changes are: (a) The systematic distinction between the sense and the reference of expressions as two separate ingredients of their (...)
     
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  8. The Sense of Reference: Intentionality in Frege.Gilead Bar-Elli - 2000 - Studia Logica 64 (3):408-410.
     
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  9.  51
    Frege and the determination of reference.Gilead Bar-Elli - 1981 - Erkenntnis 16 (1):137 - 160.
  10.  54
    Frege's context principle.Gilead Bar-Elli - 1997 - Philosophia 25 (1-4):99-129.
  11.  34
    The Aesthetic Value of Performing Music.Gilead Bar-Elli - 2017 - Journal of Aesthetic Education 51 (1):84-97.
    And indeed we think it not manly to perform music, except when drunk or for fun.Composing, performing, and listening are three familiar musical practices, each having various forms and manifestations. Aesthetic value is usually ascribed to objects—whether artistic or natural. But “object” needs to be understood here in a very wide sense, including, for example, a theatrical production or a ballet. In dealing with music, I assume that complete works are the primary bearers of such value, but we need not (...)
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  12. Three Kantian Strands in Frege’s View of Arithmetic.Gilead Bar-Elli - 2014 - Journal for the History of Analytical Philosophy 2 (7).
    On the background of explaining their different notions of analyticity, their different views on definitions, and some aspects of Frege’s notion of sense, three important Kantian strands that interweave into Frege’s view are exposed. First, Frege’s remarkable view that arithmetic, though analytic, contains truths that “extend our knowledge”, and by Kant’s use of the term, should be regarded synthetic. Secondly, that our arithmetical (and logical) knowledge depends on a sort of a capacity to recognize and identify objects, which are given (...)
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  13. Absolute Pitch and Tone Identification.Gilead Bar-Elli - 2016 - Contemporary Aesthetics 14.
    Absolute pitch, besides the psychological and neurological interests it has, raises some conceptual difficulties that can teach us about the richness of our notion of musical tone and various aspects of its identification. It is argued that when AP is conceived under a slim notion of identifying the pitch of a crude sound, it is hardly meaningful and has no significance in music comprehension. The rich notion, which is the meaningful and important one, involves knowing the position of a tone (...)
     
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  14.  42
    On the Ontological Status of Senses in Frege.Gilead Bar-Elli - 2015 - Revista Portuguesa de Filosofia 71 (2-3):287-306.
    Resumo Os sentidos para Frege são reais e objectivos, mas não são nem objectos nem funções. Eles são reais por causa da sua objectividade e por serem referências em contextos oblíquos. E, mesmo assim, eles não são objectos: eles não têm o modo de ser dos objectos – entidades identificáveis auto-subsistentes independentes – nem são funções. Assim, a ontologia de Frege inclui ainda uma outra categoria ontológica, a do sentido, que tem o seu próprio modo especial de ser. Entre as (...)
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  15.  35
    Acquaintance, Knowledge and Description in Russell.Gilead Bar-Elli - 1989 - Russell: The Journal of Bertrand Russell Studies 9 (2):133.
  16. A Fregean Look at Kripke's Modal Notion of Meaning.Gilead Bar-Elli - unknown
    In Naming and Necessity Kripke accuses Frege of conflating two notions of meaning (or sense), one is meaning proper, the other is determining of reference (p. 59). More precisely, Kripke argues that Frege conflated the question of how the meaning of a word is given or determined with the question of how its reference is determined. The criterial mark of meaning determination, according to Kripke, is a statement of synonymy: if we give the sense of “a” by means of “b”, (...)
     
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  17.  57
    Conceptual Analysis and Analytical Definitions in Frege.Gilead Bar-Elli - 2017 - European Journal of Philosophy 25 (4):963-984.
    Logical analysis is in Frege primarily not an analysis of a concept but of its sense. Five Fregean philosophical principles are presented as constituting a framework for a theory of logical or conceptual analysis, which I call analytical explication. These principles, scattered and sometime latent in his writings are operative in Frege's critique of other views and in his constructive development of his own view. The proposed conception of analytical explication is partially rooted in Frege's notion of analytical definition. It (...)
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  18.  50
    Constituents and denotation in Russell.Gilead Bar-Elli - 1980 - Theoria 46 (1):37-51.
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  19.  25
    Evaluating a Performance: Ideal vs. Great Performance.Gilead Bar-Elli - 2004 - Journal of Aesthetic Education 38 (2):7.
    In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 7-19 [Access article in PDF] Evaluating a Performance - Ideal vs. Great Performance Gilead Bar-Elli Two Notions of Performance Music, as everybody knows, is a performing art. Not only are musical works performed, but they are also designed, by their very nature, to be performed. The notion of a performance of a musical composition is therefore part and parcel of our conception (...)
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  20. Introduction.Gilead Bar-Elli - unknown
    The meaning of words, according to Wittgenstein, is grounded in their use – in the ways they are used. This does not mean only that in order to know the meaning of a word we should look at its use; it is not only a practical recommendation for the linguist or the learner. It is rather a philosophical thesis about the very notion of meaning, according to which use is what constitutes meaning, and about what the very ascription of meaning (...)
     
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  21.  50
    Identity and the formation of the notion of object.Gilead Bar-Elli - 1982 - Erkenntnis 17 (2):229-248.
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  22.  55
    Identity and the Formation of the Notion of Object. Or: The Identity of Indiscernibles: A Synthetic a Priori.Gilead Bar-Elli - 1982 - Erkenntnis 17 (2):229 - 248.
  23. Interpretation: Keeping in Touch with Reality.Gilead Bar-Elli - unknown
    I doubt whether these three theses, which characterize basic features of Davidson's conception of meaning, are coherent. The narrow sense of (1) has (2) as an obvious corollary. The wider sense of (1), or some aspects of it, is partly explicated by (3). But this doesn’t seem to cohere with (2). When theory of meaning is taken in the wider sense to include an account of how one could come to know that such a theory of truth was true (for (...)
     
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  24.  70
    Identity, semantics and ontology in Carnap.Gilead Bar-Elli - 1986 - Philosophia 16 (3-4):315-331.
  25. On the philosophical significance of Russell's “On Denoting”.Gilead Bar-Elli - 1998 - In Anat Biletzki & Anat Matar (eds.), The Story of Analytic Philosophy: Plot and Heroes. New York: Routledge. pp. 167.
     
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  26. Pause and Silence – Symmetry and the General End-Pause in Beethoven.Gilead Bar-Elli - unknown
    A musical work is an organized system of notes and of higher musical units such as motives, themes, harmonies, etc. We shall here confine ourselves to notes. A note is not just a physical event (an acoustic disturbance, a passage of wave energy), but a musical entity with functional properties sensitive to context. Roughly, it can be described as an acoustic event under a particular description (“tonic”, “dominant”, “leading tone”, “appoggiatura”, “upper voice of a septachord”, etc.). Are pauses genuine notes (...)
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  27. Summaries of Hebrew Articles.Gilead Bar-Elli - 2004 - Iyyun 53:118.
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  28.  35
    Why Care about Emotions in Music.Gilead Bar-Elli - 2018 - Philosophia 46 (3):633-646.
    The article aims at discerning and explaining the significance and role of emotive notions in understanding music, in performing it or listening to it with the appropriate understanding. The suggestion focuses on two notions: that of making sense of various musical features and their interconnections, and that of helping manage the enormous information one needs to process in keeping on the trail of the music in real time.
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