Results for 'Music Philosophy and aesthetics'

974 found
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  1.  27
    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.  11
    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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  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.  84
    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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  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, (...)
  6.  16
    (1 other version)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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  7. 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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  8.  11
    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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  9.  34
    Music, Philosophy, and Modernity.G. Dammann - 2008 - British Journal of Aesthetics 48 (4):459-461.
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  10.  79
    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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  11.  96
    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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  12.  88
    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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  13. 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 (...)
  14.  76
    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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  15.  70
    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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  16.  54
    Reification and the Aesthetics of Music.Jonathan Lewis - 2015 - 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 (...)
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  17.  10
    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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  18. Three ages of musical thought: essays on ethics and aesthetics.Eric Werner - 1941 - New York: Da Capo Press.
  19. 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. Oup Usa. pp. 31-62.
  20.  18
    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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  21.  18
    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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  22.  23
    Music, mysticism, and magic: a sourcebook.Joscelyn Godwin - 1986 - New York: Arkana.
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  23. 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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  24.  11
    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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  25.  22
    Philosophy and Hip-Hop: ruminations on postmodern cultural form.Julius Bailey - 2014 - New York, NY: Palgrave-Macmillan.
    Philosophy and Hip-Hop: Ruminations on Postmodern Cultural Form opens up the philosophical life force that informs the construction of Hip-hop by turning the gaze of the philosopher upon those blind spots that exist within existing scholarship. Traditional Departments of Philosophy will find this book a solid companion in Contemporary Philosophy or Aesthetic Theory. Inside these pages is a project that parallels the themes of existential angst, corporate elitism, social consciousness, male privilege and masculinity. This book illustrates the (...)
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  26.  29
    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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  27.  14
    Music, metamorphosis and capitalism: self, poetics and politics.John Wall (ed.) - 2007 - Newcastle, UK: Cambridge Scholars Press.
    The essays in this volume look at various kinds of music from a number of perspectives, including the socio-political, the aesthetic and the psychological. The music under discussion here is diverse but fits loosely into the categories rock-pop, new music, rap, metal and music video, with the caveat that much of the music discussed here is historically layered and engages self-consciously in the deconstruction of music genres. If there is an interpretative theme that links (...)
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  28.  12
    Earworm and Event: Music, Daydreams, and Other Imaginary Refrains.Eldritch Priest - 2022 - Durham: Duke University Press.
    In _Earworm and Event_ Eldritch Priest questions the nature of the imagination in contemporary culture through the phenomenon of the earworm: those reveries that hijack our attention, the shivers that run down our spines, and the songs that stick in our heads. Through a series of meditations on music, animal mentality, abstraction, and metaphor, Priest uses the earworm and the states of daydreaming, mind-wandering, and delusion it can produce to outline how music is something that is felt as (...)
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  29.  1
    (1 other version)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 theory of almost all ages has relied on nature in its attempts to explain music. The understanding of what 'nature' is, however, is subject to cultural and historical differences. In exploring ways in which music theory has represented and employed natural order since the scientific revolution, this volume asks some fundamental questions not only about nature in music theory, but also the nature of music theory. In an array of different approaches, ranging from physical (...)
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  30.  37
    Music, meaning and media.Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.) - 2006 - Helsinki: University of Helsinki.
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  31.  18
    Wordless rhetoric: musical form and the metaphor of the oration.Mark Evan Bonds - 1991 - Cambridge: Harvard University Press.
    Although form is one of the most commonly used terms in music interpretation, it remains one of the most ambiguous. This study explores evolving ideas of musical form from a historical perspective and sheds light on current conceptualizations of music.
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  32.  10
    Music: ethics and the community.Gisa Jähnichen, Made Mantle Hood & Chinthaka Meddegoda (eds.) - 2015 - Serdang: Universiti Putra Malaysia Press.
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  33. 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.
  34.  15
    Musique contemporaine: théories et philosophie: textes d'étude = Contemporary music: theories and philosophy: working papers.Irène Deliège (ed.) - 2000 - Liège: ESCOM Publications.
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  35.  11
    Artistic research in music: Discipline and resistance: Artists and researchers at the Orpheus Institute.Jonathan Impett (ed.) - 2016 - Leuven: Leuven UP.
    The Orpheus Institute celebrates 20 years of artistic research in music Artistic research has come of age, and with it the Orpheus Institute. Founded twenty years ago, the Institute’s purpose from the start has been to pursue research through the practice of musicians. The Orpheus Institute is of the same generation as the field it was established to explore. Like many young adults, artistic research and its structures are still constructing their identity within a wider world. How have they (...)
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  36.  12
    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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  37.  20
    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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  38.  33
    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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  39.  9
    Music and the myth of wholeness: toward a new aesthetic paradigm.Tim Hodgkinson - 2016 - Cambridge, Massachusetts: The MIT Press.
    A new theory of aesthetics and music, grounded in the collision between language and the body. In this book, Tim Hodgkinson proposes a theory of aesthetics and music grounded in the boundary between nature and culture within the human being. His analysis discards the conventional idea of the human being as an integrated whole in favor of a rich and complex field in which incompatible kinds of information—biological and cultural—collide. It is only when we acknowledge the (...)
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  40. The Philosophy of Music: Theme and Variations.Aaron Ridley - 2004 - 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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  41.  9
    Broken beauty: musical modernism and the representation of disability.Joseph Nathan Straus - 2018 - New York, NY: Oxford University Press.
    Representing disability -- Narrating disability -- Stravinsky's aesthetics of disability -- Madness -- Idiocy -- Autism -- therapeutic music theory and the tyranny of the normal.
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  42. Into the maelstrom: music, improvisation and the dream of freedom.David Toop - 2016 - New York, NY: Bloomsbury Academic, an imprint of Bloomsbury Publishing.
    (Only begin) A descent -- Free bodies -- Collective subjectivities 1 -- Overture to dawn -- Collective subjectivities 2 -- Into the hot -- Solitary subjectivities -- Troubled sea of noises and hoarse disputes -- Collective objectivities -- Imaginary birds said to live in paradise -- Postscript : The ballad of John and Yoko -- Rain falling down on old Gods.
     
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  43.  99
    Analytical philosophy and the meaning of music.Roger Scruton - 1987 - Journal of Aesthetics and Art Criticism 46:169-176.
  44.  9
    Philosophical perspectives of music: theory and practice: collection of papers from the UGC sponsored national seminar.Alok Ranjan Khatua (ed.) - 2014 - Kolkata, [India]: Readers Service in association with the Dept. of Philosophy and the Dept. of Music, Mugberia Gangadhar Mahavidyalaya.
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  45.  52
    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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  46.  29
    Boulez, Music and Philosophy.Edward Campbell - 2010 - New York: Cambridge University Press.
    While acknowledging that Pierre Boulez is not a philosopher, and that he is wary of the potential misuse of philosophy with regard to music, this study investigates a series of philosophically charged terms and concepts which he uses in discussion of his music. Campbell examines significant encounters which link Boulez to the work of a number of important philosophers and thinkers, including Adorno, Lévi-Strauss, Eco and Deleuze. Relating Boulez's music and ideas to broader currents of thought, (...)
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  47. 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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  48.  91
    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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  49.  18
    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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  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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