Results for 'Music Philosophy and aesthetics'

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  1.  15
    Music cognition and aesthetic attitudes.Harold E. Fiske - 1993 - Lewiston, N.Y.: E. Mellen Press.
    This study develops a theory about the interaction between music cognition and affective response. The theory demonstrates how musical thinking, knowledge, and decision-making result in qualitative musical behaviour. It reports new findings about the cognitive representation of musical structures, imagery as an auditory-phenomenological descriptor of music, aesthetic response as an outcome of specific cognitive decisions, and the value of music in cross-cultural human development. Each of the seven essays identifies a problem in music psychology that is (...)
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  2.  67
    Understanding music: philosophy and interpretation.Roger Scruton - 2009 - New York: Continuum.
    Following his celebrated book The Aesthetics of Music, Scruton explores the fundamental elements that constitute a great piece of music.
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  3. Music, philosophy, and modernity.Andrew Bowie - 2007 - New York: Cambridge University Press.
    Modern philosophers generally assume that music is a problem to which philosophy ought to offer an answer. Andrew Bowie’s Music, Philosophy, and Modernity suggests, in contrast, that music might offer ways of responding to some central questions in modern philosophy. Bowie looks at key philosophical approaches to music ranging from Kant, through the German Romantics and Wagner, to Wittgenstein, Heidegger and Adorno. He uses music to re-examine many current ideas about language, subjectivity, (...)
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  4.  3
    Deep refrains: music, philosophy, and the ineffable.Michael Gallope - 2017 - Chicago: University of Chicago Press.
    Introduction -- Prelude: a paradox of the ineffable. Schopenhauer's deep copy ; The Platonic solutions ; Four dialectical responses (after Nietzsche) -- Bloch's tone. The tone ; The natural klang ; The expressive tone ; Bloch's magic rattle ; The tone's inner ineffability ; The event-forms ; A dialectical account of music history ; Utopian musical speech -- Adorno's musical fracture. Adorno's tone ; Adorno's conception of history ; The tendenz des materials ; Music's language-like ineffability ; The (...)
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  5. Music, language, and cognition: and other essays in the aesthetics of music.Peter Kivy - 2007 - New York: Oxford University Press.
    I. History. Mainwaring's Handel : its relation to British aesthetics -- Herbert Spencer and a musical dispute -- II. Opera and film. Handel's operas : the form of feeling and the problem of appreciation -- Anti-semitism in Meistersinger? -- Speech, song, and the transparency of medium : on operatic metaphysics -- III. Performance. On the historically informed performance -- Ars perfecta : toward perfection in musical performance? -- IV. Interpretation. Another go at the meaning of music : Koopman, (...)
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  6.  15
    Music, Philosophy, and Modernity.G. Dammann - 2008 - British Journal of Aesthetics 48 (4):459-461.
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  7.  5
    Music and Aesthetic Reality: Formalism and the Limits of Description.Nick Zangwill - 2015 - London: Routledge.
    In this volume, Zangwill develops a view of the nature of music and our experience of music that foregrounds the aesthetic properties of music. He focuses on metaphysical issues about aesthetic properties of music, psychological issues about the nature of musical experience, and philosophy of language issues about the metaphorical nature of aesthetic descriptions of music. Among the innovations of this book, Zangwill addresses the limits of literal description, generally, and in the aesthetic case. (...)
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  8.  7
    Music and Aesthetic Reality: Formalism and the Limits of Description.Nick Zangwill - 2014 - London: Routledge.
    In this volume, Zangwill develops a view of the nature of music and our experience of music that foregrounds the aesthetic properties of music. He focuses on metaphysical issues about aesthetic properties of music, psychological issues about the nature of musical experience, and philosophy of language issues about the metaphorical nature of aesthetic descriptions of music. Among the innovations of this book, Zangwill addresses the limits of literal description, generally, and in the aesthetic case. (...)
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  9.  75
    Musical Understandings: And Other Essays on the Philosophy of Music.Stephen Davies - 2011 - Oxford, GB: New York;Oxford University Press.
    In this chapter, I discuss the kinds of understanding expected of and evinced by skilled listeners, performers, analysts, and composers. I confine the discussion to Western, purely instrumental music, mainly with the classical tradition in mind.[1] And I refer primarily to the Anglophone literature of "analytic" philosophy of music. As will become apparent, my concern is with an analysis that maps what are meant to be familiar aspects of musical experience. I investigate the various understandings expected of (...)
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  10.  3
    Music and aesthetics in the eighteenth and early-nineteenth centuries.Peter Le Huray & James Day (eds.) - 1988 - New York: Cambridge University Press.
    This is an abridged, paperback edition of Peter le Huray and James Day's invaluable anthology of writings concerned with the role of music in eighteenth- and early-nineteenth-century aesthetics. This volume retains all the most important and significant items from the original hardcover edition. Over fifty writers are represented here, including such major figures as Rousseau, Kant, Schlegel, Schopenhauer and Hegel, and the useful introductions and biographical details of the original are also retained. The aesthetic literature of the period (...)
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  11.  53
    Philosophy and the analysis of music: bridges to musical sound, form, and reference.Lawrence Ferrara - 1991 - New York: Greenwood Press.
    A musical experience is marked by the synthesis of passion and rationality, emotion and understanding, and body and mind. Ferrara demonstrates that each method of musical analysis confines musical significance to a single level. He devises an "eclectic method" that provides bridges for musical sound, form, and reference. In response to the multiplicity of levels of musical significance Ferrara's eclectic method draws upon a wide-ranging number of conventional and nonconventional approaches to musical analysis which results in a dialectic of methods.
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  12.  6
    Music, body, and desire in medieval culture: Hildegard of Bingen to Chaucer.Bruce W. Holsinger - 2001 - Stanford, Calif.: Stanford University Press.
    Ranging chronologically from the twelfth to the fifteenth century and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, from the musicality of sodomy in twelfth-century polyphony to Chaucer's representation of pedagogical violence in the Prioress's Tale, from early Christian writings on the music of the body to the plainchant and poetry of Hildegard of Bingen, the (...)
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  13. The Routledge Companion to Philosophy and Music.Theodore Gracyk & Andrew Kania (eds.) - 2011 - New York: Routledge.
    _The Routledge Companion to Philosophy and Music_ is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of music music, philosophy and related disciplines _The Routledge Companion to Philosophy and Music_ is essential reading for anyone interested in philosophy, music and musicology.
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  14.  24
    Musical Aphorisms and Common Aesthetic Quandaries.Yaroslav Senyshyn - 2003 - Philosophy of Music Education Review 11 (2):112-129.
    In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 112-129 [Access article in PDF] Musical Aphorisms and Common Aesthetic Quandaries Yaroslav Senyshyn Simon Fraser University, Canada I have written in the style of aphorisms because their form is useful for both the sake of brevity and possible complexity. As well, they are historically significant as they have served many philosophers in the past and in our own time. Some (...)
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  15. 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 (...)
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  16.  15
    Musical Aphorisms and Common Aesthetic Quandaries.Yaroslav Senyshyn - 2003 - Philosophy of Music Education Review 11 (2):112-129.
    In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 112-129 [Access article in PDF] Musical Aphorisms and Common Aesthetic Quandaries Yaroslav Senyshyn Simon Fraser University, Canada I have written in the style of aphorisms because their form is useful for both the sake of brevity and possible complexity. As well, they are historically significant as they have served many philosophers in the past and in our own time. Some (...)
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  17. The Philosophy of Art and Aesthetics, Psychology, and Neuroscience: Studies in Literature, Music, and Visual Arts.Noel Carroll, Margaret Moore & William Seeley - 2012 - In Arthur P. Shimamura & Stephen E. Palmer (eds.), Aesthetic Science: Connecting Minds, Brains, and Experience. New York, NY, USA: pp. 31-62.
  18.  43
    Reification and the Aesthetics of Music.Jonathan Lewis - 2016 - New York, NY, USA: Routledge.
    This innovative study re-evaluates the philosophical significance of aesthetics in the context of contemporary debates on the nature of philosophy. Lewis's main argument is that contemporary conceptions of meaning and truth have been reified, and that aesthetics is able to articulate why this is the case, with important consequences for understanding the horizons and nature of philosophical inquiry. _Reification and the Aesthetics of Music_ challenges the most emphatic and problematic conceptions of meaning and truth in both (...)
  19. 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 (...)
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  20.  1
    Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries.John Morreall - 1984 - Philosophical Studies (Dublin) 30:328-329.
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  21. Music, Art, and Metaphysics.Jerrold Levinson - 2011 - Oxford: Oxford University Press.
    This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.
  22.  5
    Research on the Application of the Fusion of Aesthetic Philosophy and Practical Philosophy in Film and Television Music Production.Huang Fan - 2023 - European Journal for Philosophy of Religion 15 (3):113-130.
    The basic aim of this research study is to describe the Applications of the fusion of aesthetic philosophy and practical philosophy in film and television music production. This research study depends upon primary data analysis for measuring the research study to generate different questions related to the aesthetic philosophy and practical philosophy to determine the research study used smart PLS and run different results related to the variables. Modern philosophy of art includes the (...) of film as a well-established subfield. Although philosophers were among the first academics to write studies of the new art form in the early decades of the twentieth century, the area did not enjoy considerable development until the 1980s, when a resurgence began. The rapid expansion of this sector can be attributed to a wide variety of factors. Let it be enough to state that the evolution of philosophy as a discipline and the growing importance of cinema in popular culture has made it crucial for philosophers to view the film as an art form on par with literature, music, and the visual arts. The overall research study found that there are negative and some positive relations between aesthetic philosophy and practical philosophy in music production. The result found that significant relationship between aesthetic philosophy and practical philosophy in film and television. (shrink)
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  23.  76
    Music, imagination, and culture.Nicholas Cook - 1990 - New York: Oxford University Press.
    Drawing on psychological and philosophical materials as well as the analysis of specific musical examples, Cook here defines the difference between music...
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  24.  61
    Music, value, and the passions.Aaron Ridley - 1995 - Ithaca: Cornell University Press.
    For a century there has been a divergence between what music theorists say music is about and what the ordinary listener actually experiences. Music theory has insisted on a separation of musical experience from the experience of emotions, from the passions. Yet a passionate experience of music is just what most ordinary listeners have. Charting a new course through the minefield of contemporary philosophy of music, Aaron Ridley provides a coherent defense of the ordinary (...)
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  25.  11
    Hindustani Sangeet and a Philosopher of Art: Music, Rhythm, and Kathak Dance Vis-à-Vis Aesthetics of Susanne K. Langer.Sushil Kumar Saxena - 2001 - D.K. Printworld.
    The Book Seeks To Weigh Some Basic Facts And Concepts Of Hindustani Sangeet (Music, Rhythm And Kathak Dance) Against The Art Theories Of Susanne K. Langer, An Eminent Aesthetician Of The Recent Past, Incorporating Numerous Illustrative References To Hindustani Sangeet.
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  26.  3
    Intents and purposes: philosophy and the aesthetics of improvisation.Eric Lewis - 2019 - Ann Arbor: University of Michigan Press.
    Introduction: why an ontology of jazz? -- What does the law hear? James Newton and the Beastie Boys -- Intentions, agency, and improvisation: from machines to the imaginary -- It ain't over till it's over: work completion in improvised music -- Paris, 1969: musical understanding, genres, and aesthetic denseness -- My favorite things: performance, paraphrase, and representation.
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  27.  2
    Music, tendencies, and inhibitions: reflections on a theory of Leonard Meyer.Renee Cox Lorraine - 2001 - Lanham, Md.: Scarecrow Press.
    Leonard B. Meyer has proposed that when musical tendencies or expectations are inhibited by musical ambiguity or the unexpected, those inhibitions and their subsequent resolutions are likely to be provocative or engaging. Music, Tendencies and Inhibitions will explore the relevance of this theory to music and various other disciplines, and to psychological and natural processes. Each chapter consists of two parts: a presentation and consideration of an aspect of Meyer's theory, and a more associative or rhapsodic section of (...)
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  28.  87
    The Philosophy of Music: Theme and Variations.Aaron Ridley - unknown - Edinburgh University Press.
    New and distinctive approaches to five central topics in musical aesthetics are provided in this outstanding book. The topics are: understanding, representation, expression, performance and profundity.
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  29.  76
    Analytical philosophy and the meaning of music.Roger Scruton - 1987 - Journal of Aesthetics and Art Criticism 46:169-176.
  30.  2
    Musical agency and the social listener.Cora S. Palfy - 2022 - New York, NY: Routledge.
    Music as a narrative drama is an intriguing idea, which has captured explicit music theoretical attention since the nineteenth century. Investigations into narrative characters or personae has evolved into a sub-field--musical agency. In this book, Palfy contends that music has the potential to engage us in social processes and that those processes can be experienced as a social interaction with a musical agent. She explores the overlap between the psychological processes in which we participate in order to (...)
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  31. Three ages of musical thought: essays on ethics and aesthetics.Eric Werner - 1941 - New York: Da Capo Press.
  32.  34
    The Quest for Voice: Music, Politics, and the Limits of Philosophy.Lydia Goehr - 1998 - New York: Oxford University Press.
    Concentrating on the music, politics, and philosophy of Richard Wagner, Lydia Goehr addresses some fundamental questions of German Romanticism: Is all music musical? Is music made less musical by the presence of words? What is musical autonomy? How do composers avoid censorship? How are composers affected by exile? Can music articulate a 'politics for the future'? What is the relation between music and philosophy?
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  33. Deleuze on music, painting, and the arts.Ronald Bogue - 2003 - New York: Routledge.
    Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as a whole. Deleuze on Music, Painting and the Arts breaks new ground in the scholarship on Deleuze's aesthetics, while providing a clear and accessible guide to his often overlooked writings in the fields of music and painting.
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  34.  4
    Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries. [REVIEW]John Morreall - 1984 - Philosophical Studies (Dublin) 30:328-329.
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  35.  10
    Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries. [REVIEW]John Morreall - 1984 - Philosophical Studies (Dublin) 30:328-329.
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  36.  99
    The quest for voice: on music, politics, and the limits of philosophy: the 1997 Ernest Bloch lectures.Lydia Goehr - 1998 - New York: Oxford University Press.
    Concentrating on the music, politics, and philosophy of Richard Wagner, Lydia Goehr addresses some fundamental questions of German Romanticism: Is all music musical? Is music made less musical by the presence of words? What is musical autonomy? How do composers avoid censorship? How are composers affected by exile? Can music articulate a 'politics for the future'? What is the relation between music and philosophy?
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  37. Musical form and matter.Donald Francis Tovey - 1934 - London: Oxford University Press UK.
     
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  38.  3
    Beethoven: The Philosophy of Music : Fragments and Texts.Theodor W. Adorno, Rolf Tiedemann & Edmund Jephcott - 1998 - Stanford, Calif.: Stanford University Press. Edited by Rolf Tiedemann.
    Beethoven is a classic study of the composer's music, written by one of the most important thinkers of our time. Throughout his life, Adorno wrote extensive notes, essay fragments and aides-memoires on the subject of Beethoven's music. This book brings together all of Beethoven's music in relation to the society in which he lived. Adorno identifies three periods in Beethoven's work, arguing that the thematic unity of the first and second periods begins to break down in the (...)
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  39.  21
    Musical Understandings and Other Essays on the Philosophy of Music by davies, stephen.Erkki Huovinen - 2012 - Journal of Aesthetics and Art Criticism 70 (3):315-317.
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  40.  1
    Music: ethics and the community.Gisa Jähnichen, Made Mantle Hood & Chinthaka Meddegoda (eds.) - 2015 - Serdang: Universiti Putra Malaysia Press.
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  41.  15
    Music, mysticism, and magic: a sourcebook.Joscelyn Godwin - 1986 - New York: Arkana.
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  42.  9
    The philosophy of music : Formalism and beyond.Philip Alperson - 2004 - In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Oxford, UK: Blackwell. pp. 254–275.
    This chapter contains sections titled: Formalism Enhanced Formalism Beyond Formalism.
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  43.  14
    Jerrold Levinson., Music, Art, and Metaphysics: Essays in Philosophical Aesthetics.Ronald E. Roblin - 1994 - International Studies in Philosophy 26 (2):132-133.
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  44.  3
    The aesthetics of imperfection in music and the arts: spontaneity, flaws and the unfinished.Andy Hamilton & Lara Pearson (eds.) - 2020 - New York: Bloomsbury Academic.
    The aesthetics of imperfection emphasises spontaneity, disruption, process and energy over formal perfection and is often ignored by many commentators or seen only in improvisation. This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions. Covering music, visual art, dance, comedy, architecture and design, it addresses the meaning, experience, and value of improvisation and spontaneous creation across different artistic media. A distinctive feature of the volume (...)
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  45.  67
    Embodied meaning and aesthetic experience: Mark Johnson, The meaning of the body. Aesthetics of human understanding. Chicago. University of Chicago Press, 2007. 276p, 2 color plates, 1 halftone, 2 line drawings, 4 figures, 6 musical examples. Cloth $32; ₤20 ISBN 0-226-40192-8.Richard Marc Shusterman - 2009 - Phenomenology and the Cognitive Sciences 8 (2):261-265.
  46.  5
    Music theory and natural order from the Renaissance to the early twentieth century.Suzannah Clark & Alexander Rehding (eds.) - 2001 - New York: Cambridge University Press.
    Music theorists of almost all ages employ a concept of "Nature" to justify observations or statements about music. The understanding of what "Nature" is, however, is subject to cultural and historical differences. In tracing these explanatory strategies and their changes in music theories between c. 1600 and 1900, these essays explore (for the first time in a book-length study) how the multifarious conceptions of nature, located variously between scientific reason and divine power, are brought to bear on (...)
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  47. Deleuze on Music, Painting, and the Arts.Ronald Bogue - 2003 - New York: Routledge.
    First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
     
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  48.  3
    Music, analysis, and the body: experiments, explorations, and embodiments.Nicholas W. Reyland & Rebecca Thumpston (eds.) - 2018 - Leuven: Peeters.
    How do our embodied experiences of music shape our analysis, theorizing, and interpretation of musical texts, and our engagement with practices including composing, improvising, listening, and performing? 'Music, Analysis, and the Body: Experiments, Explorations, and Embodiments' is a pioneering essay collection uniting major and emerging scholars to consider how theory and analysis address music's literal and figurative bodies. The essayists offer critical overviews of different theoretical approaches to music analysis and embodiment, then test and demonstrate their (...)
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  49.  18
    Music, meaning and media.Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.) - 2006 - Helsinki: University of Helsinki.
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  50. The Aesthetics of Music.Roger Scruton - 1997 - Oxford, GB: Oxford University Press.
    What is music, what is its value, and what does it mean? In this stimulating volume, Roger Scruton offers a comprehensive account of the nature and significance of music from the perspective of modern philosophy. The study begins with the metaphysics of sound. Scruton distinguishes sound from tone; analyzes rhythm, melody, and harmony; and explores the various dimensions of musical organization and musical meaning. Taking on various fashionable theories in the philosophy and theory of music, (...)
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