Results for 'Music'

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  1. Music critics and aestheticians are, on the surface, advocates and guardians of good music. But what exactly is “good”.Pop Music - 2004 - In Christopher Washburne & Maiken Derno (eds.), Bad music: the music we love to hate. New York: Routledge. pp. 62.
     
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  2. “I like bad music.” That's my usual response to people who ask me about my musi.Rock Critics Need Bad Music - 2004 - In Christopher Washburne & Maiken Derno (eds.), Bad music: the music we love to hate. New York: Routledge.
     
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  3.  11
    Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja.Lejla Mušić - 2007 - Filozofska Istrazivanja 27 (1):213-234.
    Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju biti (...)
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  4.  7
    Philosophy of Art in the Thinking of Ananda Kentish Coomaraswamy.Lejla Mušić - 2007 - Filozofska Istrazivanja 27 (1):213-234.
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  5. Reviewed by Peter Kaminsky.Engaging Music - 2006 - Theoria 13:127.
     
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  6.  7
    Mapping dreams in a computational space: A phrase-level model for analyzing Fight/Flight and other typical situations in dream reports.Maja Gutman Music, Pavan Holur & Kelly Bulkeley - 2022 - Consciousness and Cognition 106 (C):103428.
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  7.  23
    A systematic review of comorbidity in PTSD using eye tracking and MEG.Music Selma, Rossell Susan & Ciorciari Joseph - 2015 - Frontiers in Human Neuroscience 9.
  8.  54
    Ahern, Daniel R. The Smile of Tragedy: Nietzsche and the Art of Virtue. University Park, PA: Pennsylvania State University Press, 2012. Pp. xi+ 168. Cloth, $64.95. Alican, Necip Fikri. Rethinking Plato: A Cartesian Quest for the Real Plato. Value Inquiry Book Series. Amsterdam-New York: Rodopi, 2012. Pp. xxv+ 604. Cloth, $176.00. Allison, Henry E. Essays on Kant. Oxford-New York: Oxford University Press, 2012. Pp. xiv+ 289. [REVIEW]Fine Music - 2013 - Journal of the History of Philosophy 51 (1):145-147.
  9.  20
    Effect of External Force on Agency in Physical Human-Machine Interaction.Satoshi Endo, Jakob Fröhner, Selma Musić, Sandra Hirche & Philipp Beckerle - 2020 - Frontiers in Human Neuroscience 14.
  10.  20
    Associating Vehicles Automation With Drivers Functional State Assessment Systems: A Challenge for Road Safety in the Future.Christian Collet & Oren Musicant - 2019 - Frontiers in Human Neuroscience 13:408476.
    In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels of (...)
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  11. Tatjana Markovic.Serbian Music Romanticism - 2003 - In Eero Tarasti, Paul Forsell & Richard Littlefield (eds.), Musical Semiotics Revisited. International Semiotics Institute. pp. 468.
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  12.  18
    Community Experiments in Public Health Law and Policy.Angela K. McGowan, Gretchen G. Musicant, Sharonda R. Williams & Virginia R. Niehaus - 2015 - Journal of Law, Medicine and Ethics 43 (S1):10-14.
    Community-level legal and policy innovations or “experiments” can be important levers to improve health. States and localities are empowered through the 10th Amendment of the United States Constitution to use their police powers to protect the health and welfare of the public. Many legal and policy tools are available, including: the power to tax and spend; regulation; mandated education or disclosure of information, modifying the environment — whether built or natural ; and indirect regulation. These legal and policy interventions can (...)
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  13.  20
    The Scope Argument, MICHAEL O'ROURKE.Against Musical Ontology & Aaron Ridley - 2003 - Journal of Philosophy 100 (3).
  14. What is sociological about music?William G. Roy, Timothy J. Dowd505 0 $A. I. I. Experience of Music: Ritual & Authenticity : - 2013 - In Sara Horsfall, Jan-Martijn Meij & Meghan D. Probstfield (eds.), Music sociology: examining the role of music in social life. Boulder, CO: Paradigm Publishers.
     
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  15. The jazz solo as ritual: conforming to the conventions of innovation.Roscoe C. Scarborough505 0 $A. Iii Experience Of Music: Stratification & Identity : - 2013 - In Sara Horsfall, Jan-Martijn Meij & Meghan D. Probstfield (eds.), Music sociology: examining the role of music in social life. Boulder, CO: Paradigm Publishers.
     
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  16.  26
    Ethical pharmaceutical promotion and communications worldwide: codes and regulations.Jeffrey Francer, Jose Z. Izquierdo, Tamara Music, Kirti Narsai, Chrisoula Nikidis, Heather Simmonds & Paul Woods - 2014 - Philosophy, Ethics, and Humanities in Medicine 9:7.
    The international pharmaceutical industry has made significant efforts towards ensuring compliant and ethical communication and interaction with physicians and patients. This article presents the current status of the worldwide governance of communication practices by pharmaceutical companies, concentrating on prescription-only medicines. It analyzes legislative, regulatory, and code-based compliance control mechanisms and highlights significant developments, including the 2006 and 2012 revisions of the International Federation of Pharmaceutical Manufacturers and Associations (IFPMA) Code of Practice.
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  17.  11
    The Tanagra Project: Investigations at an Ancient Boeotian City and in its Countryside (2000-2002).John L. Bintliff, Emeri Farinetti, Kostas Sbonias, Kalliope Sarri, Vladimir Stissi, Jeroen Poblome, Ariane Ceulemans, Karlien De Craen, Athanasios Vionis, Branko Music, Dusan Kramberger & Bozidar Slapsak - 2004 - Bulletin de Correspondance Hellénique 128 (21):541-606.
    John Bintliff et alii Le Tanagra Project : recherches dans une cité antique de Béotie et son territoire (2000-2002) p.541-606 Cet article présente les résultats préliminaires du Leiden-Ljubljana Field Project dans la cité antique de Tanagra, en Béotie orientale, et dans ses environs immédiats. Les travaux ont débuté en 1999, avec une vaste équipe de chercheurs et d'étudiants des Pays-Bas, de Belgique, de Slovénie et de Grèce, sous la direction de John Bintliff et Bozidar Slapsak et la sous-direction de Kostas (...)
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  18. The music between us: is music a universal language?Kathleen Marie Higgins - 2012 - London: University of Chicago Press.
    Other people's music -- Musical animals -- What's involved in sounding human? -- Cross-cultural understanding -- The music of language -- Musical synesthesia -- A song in your heart -- Comfort and joy -- Beyond ethnocentrism.
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  19.  14
    Music of the spheres and the dance of death: studies in musical iconology.Kathi Meyer-Baer - 1970 - New York: Da Capo Press.
    The roots and evolution of two concepts usually thought to be Western in origin-musica mundana (the music of the spheres) and musica humana (music's relation to the human soul)-are explored. Beginning with a study of the early creeds of the Near East, Professor Meyer-Baer then traces their development in the works of Plato and the Gnostics, and in the art and literature of the Middle Ages and the Renaissance. Previous studies of symbolism in music have tended to (...)
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  20.  2
    Being musically attuned: the act of listening to music.Erik Wallrup - 2015 - Ashgate Publishing Company : Burlington, VT, USA: Ashgate.
    Stimmung in music -- The philosophy of Stimmung -- Playing in between -- History -- Duration -- Aftersong.
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  21.  25
    Music in early Christian literature.James W. McKinnon (ed.) - 1987 - New York: Cambridge University Press.
    This book provides a collection of some 400 passages on music from early Christian literature - New Testament to c. 450 AD - newly translated from the original Greek, Latin, and Syriac. As there are no musical sources of the period, music historians must rely upon remarks about music in literary sources to gain some knowledge of early Christian liturgical music. This volume makes a large and representative collection of the material conveniently available. The passages are (...)
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  22.  8
    Pop/music + medien/kunst: der musikalisierte Alltag der digital culture.Werner Jauk - 2009 - Osnabrück: Electronic Publishing.
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  23. The language of music.Deryck Cooke - 1959 - New York: Oxford University Press.
    First published in 1959, this original study argues that the main characteristic of music is that it expresses and evokes emotion, and that all composers whose music has a tonal basis have used the same, or closely similar, melodic phrases, harmonies, and rhythms to affect the listener in the same ways. He supports this view with hundreds of musical examples, ranging from plainsong to Stravinsky, and contends that music is a language in the specific sense that we (...)
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  24. Music as an Evolved Tool for Socio-Affective Fiction.Caitlyn Trevor & Sascha Frühholz - forthcoming - Emotion Review.
    The question of why music evolved has been contemplated and debated for centuries across multiple disciplines. While many theories have been posited, they still do not fully answer the question of why humans began making music. Adding to the effort to solve this mystery, we propose the socio-affective fiction (SAF) hypothesis. Humans have a unique biological need for emotion regulation strengthening. Simulated emotional situations, like dreams, can help address that need. Immersion is key for such simulations to successfully (...)
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  25.  12
    Musical Performance: A Philosophical Study.Stan Godlovitch - 1998 - New York: Routledge.
    Most music we hear comes to us via a recording medium on which sound has been stored. Such remoteness of music heard from music made has become so commonplace it is rarely considered. _Musical Performance: A Philosophical Study_ considers the implications of this separation for live musical performance and music-making. Rather than examining the composition or perception of music as most philosophical accounts of music do, Stan Godlovitch takes up the problem of how the (...)
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  26. Trivial music (trivialmusik) : "Preface" and "trivial music and aesthetic judgment".Christopher Washburne & Maiken Derno - 2004 - In Christopher Washburne & Maiken Derno (eds.), Bad music: the music we love to hate. New York: Routledge.
     
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  27. Country Music and the Problem of Authenticity.Evan Malone - 2023 - British Journal of Aesthetics 63 (1):75-90.
    In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, (...)
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  28. Sideways music.Ned Markosian - 2019 - Analysis (1):anz039.
    There is a popular theory in the metaphysics of time according to which time is one of four similar dimensions that make up a single manifold that is appropriately called spacetime. One consequence of this thesis is that changing an object’s orientation in the manifold does not change its intrinsic features. In this paper I offer a new argument against this popular theory. I claim that an especially good performance of a particularly beautiful piece of music, when oriented within (...)
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  29.  21
    Music and the politics of culture.Christopher Norris (ed.) - 1989 - New York: St. Martin's Press.
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  30. Musical Works and Performances: A Philosophical Exploration.Stephen Davies - 2001 - Oxford, GB: Oxford University Press.
    What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, and (...)
  31. Music as immanent critique: Stasis and development in the music of Ligeti.Alastair Williams - 1989 - In Christopher Norris (ed.), Music and the politics of culture. New York: St. Martin's Press. pp. 187--225.
     
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  32. Musical meaning and expression.Stephen Davies - 1994 - Ithaca: Cornell University Press.
    We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in (...)
  33. Musical Works as Structural Universals.A. R. J. Fisher - 2023 - Erkenntnis 88 (3):1245-67.
    In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory (hereafter Musical Aristotelianism) is an attractive and serviceable hypothesis. However, it is overlooked as a genuine competitor to the more well-known theories of Musical Platonism and nominalism. Worse still, there is no detailed account in the literature of the nature of the universals that the Aristotelian identifies musical works with. In this paper, I argue that the (...)
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  34.  14
    Musical vitalities: ventures in a biotic aesthetics of music.Holly Watkins - 2018 - London: University of Chicago Press.
    Does it make sense to refer to bird song - a complex vocalization, full of repetitive and transformative patterns that are carefully calculated to woo a mate - as art? What about a pack of wolves howling in unison or the cacophony made by an entire rain forest? Redefining music as "the art of possibly animate things," Musical Vitalities charts a new path for music studies that blends musicological methods with perspectives drawn from the life sciences. In opposition (...)
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  35. Music and the Evolution of Embodied Cognition.Stephen Asma - forthcoming - In M. Clasen J. Carroll (ed.), Evolutionary Perspectives on Imaginative Culture. pp. pp 163-181.
    Music is a universal human activity. Its evolution and its value as a cognitive resource are starting to come into focus. This chapter endeavors to give readers a clearer sense of the adaptive aspects of music, as well as the underlying cognitive and neural structures. Special attention is given to the important emotional dimensions of music, and an evolutionary argument is made for thinking of music as a prelinguistic embodied form of cognition—a form that is still (...)
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  36. Music as Affective Scaffolding.Joel Krueger - forthcoming - In David Clarke, Ruth Herbert & Eric Clarke (eds.), Music and Consciousness II. Oxford: Oxford University Press.
    For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. I argue that music is a beyond-the-head resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. I focus on music’s capacity to scaffold emotional consciousness, including the self-regulative processes (...)
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  37.  10
    Music and ethical responsibility.Jeff R. Warren - 2014 - New York: Cambridge University Press.
    Discussions surrounding music and ethical responsibility bring to mind arguments about legal ownership and purchase. Yet the many ways in which we experience music with others are usually overlooked. Musical experience and practice always involve relationships with other people, which can place limitations on how we listen to and act upon music. In Music and Ethical Responsibility, Jeff Warren challenges current approaches to music and ethics, drawing upon philosopher Emmanuel Levinas's theory that ethics is the (...)
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  38.  50
    Music, the arts, and ideas.Leonard B. Meyer - 1967 - Chicago: University of Chicago Press.
    The Postlude, written for this edition, looks back at the predictions made more than twenty-five years ago and speculates about what the coming decades may hold ...
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  39. Music practice and participation for psychological well-being: A review of how music influences positive emotion, engagement, relationships, meaning, and accomplishment.Adam M. Croom - 2015 - Musicae Scientiae: The Journal of the European Society for the Cognitive Sciences of Music 19:44-64.
    In “Flourish,” Martin Seligman maintained that the elements of well-being consist of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes human flourishing or psychological well-being has remained a topic of continued debate among scholars, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would largely manifest most or all of the aforementioned PERMA factors. Further, in “A Neuroscientific Perspective on Music Therapy,” Stefan Koelsch also (...)
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  40. Musical works are mind-independent artifacts.Elzė Sigutė Mikalonytė - 2023 - Synthese 203 (1):1-28.
    Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could (...)
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  41. Music and Vague Existence.David Friedell - 2017 - Res Philosophica 94 (4):437-449.
    I explain a tension between musical creationism (the view that musical works are abstract artifacts) and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an instance (...)
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  42. Music and the Emotions: The Philosophical Theories.Malcolm Budd - 1985 - Boston: Routledge.
    It has often been claimed, and frequently denied, that music derives some or all of its artistic value from the relation in which it stands to the emotions. This book presents and subjects to critical examination the chief theories about the relationship between the art of music and the emotions.
  43.  49
    Music as a coevolved system for social bonding.Patrick E. Savage, Psyche Loui, Bronwyn Tarr, Adena Schachner, Luke Glowacki, Steven Mithen & W. Tecumseh Fitch - 2021 - Behavioral and Brain Sciences 44:e59.
    Why do humans make music? Theories of the evolution of musicality have focused mainly on the value of music for specific adaptive contexts such as mate selection, parental care, coalition signaling, and group cohesion. Synthesizing and extending previous proposals, we argue that social bonding is an overarching function that unifies all of these theories, and that musicality enabled social bonding at larger scales than grooming and other bonding mechanisms available in ancestral primate societies. We combine cross-disciplinary evidence from (...)
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  44.  87
    The music instinct: how music works and why we can't do without it.Philip Ball - 2010 - New York: Oxford University Press.
    The Music Instinct Philip Ball provides the first comprehensive, accessible survey of what is known--and what is still unknown--about how music works its magic, and why, as much as eating and sleeping, it seems indispensable to humanity. --from publisher description.
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  45.  15
    Music as agency: diversities of perspectives on artistic citizenship.Emily Achieng' Akuno & Maria Westvall (eds.) - 2024 - New York, NY: Routledge.
    Music as Agency: Diversities of Perspectives on Artistic Citizenship focuses on the concept, application, interpretation and manifestation of Artistic Citizenship in diverse contexts. The key concepts that the book tackles are: Cultural experience, artistic practice, musical identities, equity, democracy, community, activism, resistance and empathy. In giving an overview of aspects of the compound concept of artistic citizenship, Akuno and Westvall present the outcome of research and interrogation of practice by a global network of educator-researchers from Africa, the Americas, Asia (...)
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  46.  40
    The Music of Ritual Practice—An Interpretation.Peter Yih-Jiun Wong - 2012 - Sophia 51 (2):243-255.
    Music is an important philosophical theme in Confucian writings, one that is intimately related to ritual. But the relationship between music and ritual requires clarification. This paper seeks to argue for a general sense of music that reflects a particular aspect of ritual that has to do with performance. There is much material available in classical texts, such as the 'Record of Music' ('Yueji'), that allows for nuanced explications of the musical qualities of such performances. Thus (...)
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  47. Dance, Music, Meter and Groove: A Forgotten Partnership.W. Tecumseh Fitch - 2016 - Frontiers in Human Neuroscience 10:150796.
    I argue that core aspects of musical rhythm, especially "groove" and syncopation, can only be fully understood in the context of their origins in the participatory social experience of dance. Musical meter is first considered in the context of bodily movement. I then offer an interpretation of the pervasive but somewhat puzzling phenomenon of syncopation in terms of acoustic emphasis on certain offbeat components of the accompanying dance style. The reasons for the historical tendency of many musical styles to divorce (...)
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  48.  15
    Absolute Music: The History of an Idea.Mark Evan Bonds - 2014 - New York: Oup Usa.
    In Absolute Music: The History of an Idea, author Mark Evan Bonds examines how writers have struggled to isolate the essence of music in ways that account for its profound effects on the human spirit. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to twentieth-century America, Bonds provides the first comprehensive history of this pivotal concept, and provokes new thoughts on the essence of music and how this essence explains (...)
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  49. Musical materialism and the inheritance problem.Chris Tillman & J. Spencer - 2012 - Analysis 72 (2):252-259.
    Some hold that musical works are fusions of, or coincide with, their performances. But if performances contain wrong notes, won't works inherit that property? We say ‘no’.
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  50. Enacting Musical Experience.Joel Krueger - 2009 - Journal of Consciousness Studies 16 (2-3):98-123.
    I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we (...)
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