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Stephen Davies [151]Stephen M. Davies [2]Stephen T. Davies [1]Stephen N. Davies [1]
Stephen J. Davies [1]
  1.  87
    The Artful Species: Aesthetics, Art, and Evolution.Stephen Davies - 2012 - Oxford, GB: Oxford University Press.
    Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?
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  2. 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 turn the positions that (...)
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  3. 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 the implications (...)
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  4. Definitions of art.Stephen Davies - 1991 - Ithaca, N.Y.: Cornell University Press.
    In the last thirty years, work in analytic philosophy of art has flourished, and it has given rise to considerably controversy. Stephen Davies describes and analyzes the definition of art as it has been discussed in Anglo-American philosophy during this period and, in the process, introduces his own perspective on ways in which we should reorient our thinking. Davies conceives of the debate as revealing two basic, conflicting approaches--the functional and the procedural--to the questions of whether art can be defined, (...)
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  5. Themes in the philosophy of music.Stephen Davies - 2003 - New York: Oxford University Press.
    Representing Stephen Davies's best shorter writings, these essays outline developments within the philosophy of music over the last two decades, and summarize the state of play at the beginning of a new century. Including two new and previously unpublished pieces, they address both perennial questions and contemporary controversies, such as that over the 'authentic performance' movement, and the impact of modern technology on the presentation and reception of musical works. Rather than attempting to reduce musical works to a single type, (...)
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  6.  21
    The Pleasures of Aesthetics: Philosophical Essays.Stephen Davies - 1996 - Journal of Aesthetics and Art Criticism 57 (3):371-374.
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  7. The Philosophy of Art.Stephen Davies - 2006 - Malden, MA: Wiley-Blackwell.
    Written with clarity, wit, and rigor, _The Philosophy of Art_ provides an incisive account of the core topics in the field. The first volume in the new _Foundations of the Philosophy of the Arts_ series, designed to provide crisp introductions to the fundamental general questions about art, as well as to questions about the several arts. Presents a clear and insightful introduction to central topics and on-going debates in the philosophy of art. Eight sections cover a wide spectrum of topics (...)
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  8. Defining Art and Artworlds.Stephen Davies - 2015 - Journal of Aesthetics and Art Criticism 73 (4):375-384.
    Most art is made by people with a well-developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something (...)
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  9. Themes in the Philosophy of Music.Stephen Davies - 2004 - Journal of Aesthetics and Art Criticism 62 (4):397-399.
     
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  10. Artistic expression and the hard case of pure music.Stephen Davies - 2006 - In Matthew Kieran (ed.), Contemporary debates in aesthetics and the philosophy of art. Blackwell.
    In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without words, (...)
     
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  11. The Philosophy of Art.Stephen Davies - 2007 - Tijdschrift Voor Filosofie 69 (2):381-383.
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  12. Aesthetic judgements, artworks and functional beauty.Stephen Davies - 2006 - Philosophical Quarterly 56 (223):224-241.
    I offer an analysis of the role played by consideration of an item's functions when it is judged aesthetically. The account applies also to artworks, of which some serve extrinsic functions (such as the glorification of God and the communication of religious lore) and others have the function of being contemplated for their own sake alone. Along the way, I deny that aesthetic judgements fit the model of judgements either of free beauty or of dependent beauty, given how these two (...)
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  13.  25
    Behavioral Modernity in Retrospect.Stephen Davies - 2019 - Topoi 40 (1):221-232.
    This paper reviews the debate about behavioral modernity in our species, listing counterexamples to the thesis that there was a dramatic change to the minds of Cro-Magnon sapiens in Europe in the Upper Paleolithic. It is argued that we were probably behaviorally modern from about 150,000 years ago, and that aspects of this mentality were apparent in developments in tool technologies and hunting practices across the prior Homo lineage. Key behaviors expressive of behavioral modernity include practical reasoning about the past (...)
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  14. On Defining Music.Stephen Davies - 2012 - The Monist 95 (4):535-555.
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  15.  26
    Music, Art, and Metaphysics.Stephen Davies - 1992 - Journal of Aesthetic Education 26 (2):110.
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  16.  43
    Language, Music, and Mind.Stephen Davies - 1993 - Journal of Aesthetics and Art Criticism 52 (3):360-362.
  17.  90
    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 an accomplished listener, (...)
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  18. Authors' intentions, literary interpretation, and literary value.Stephen Davies - 2006 - British Journal of Aesthetics 46 (3):223-247.
    I discuss three theories regarding the interpretation of fictional literature: actual intentionalism (author's intentions constrain how their works are to be interpreted), hypothetical intentionalism (interpretations are justified as those most likely intended by a postulated author), and the value-maximizing theory (interpretations presenting the work in the most favourable light are to be preferred). I claim that actual intentionalism cannot account for the appropriateness or legitimacy of some interpretations, or alternatively that it must be weakened to the point that the considerations (...)
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  19.  66
    Ontology of art.Stephen Davies - 2003 - In Jerrold Levinson (ed.), The Oxford handbook of aesthetics. New York: Oxford University Press. pp. 155--180.
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  20.  54
    Philosophical perspectives on art.Stephen Davies - 2007 - New York;: Oxford University Press.
    Philosophical Perspectives on Art presents a series of essays devoted to two of the most fundamental topics in the philosophy of art: the distinctive character of artworks and what is involved in understanding them as art. In Part I, Stephen Davies considers a wide range of questions about the nature and definition of art. Can art be defined, and if so, which definitions are the most plausible? Do we make and consume art because there are evolutionary advantages to doing so? (...)
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  21. Profundity in instrumental music.Stephen Davies - 2002 - British Journal of Aesthetics 42 (4):343-356.
    According to Peter Kivy, to be profound, music would have to be about a profound subject that is treated in an exemplary way. Instrumental music does not satisfy this definition; usually it is not about anything humanly important, and when it is, it can convey no more than banalities. Like others, I argue against the propositional character of Kivy's ‘aboutness’ criterion; profundity can be revealed or displayed other than via statements and descriptions. I am less inclined than some of Kivy's (...)
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  22. Themes in the Philosophy of Music.Stephen Davies & Bruce Ellis Benson - 2004 - Philosophical Quarterly 54 (217):645-648.
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  23. The cluster theory of art.Stephen Davies - 2004 - British Journal of Aesthetics 44 (3):297-300.
    Berys Gaut has recently defended a cluster account of art. He proposes it as superior to other anti-essentialist positions. I argue that his defence of this claim is unconvincing. Not only is the cluster theory consistent with the current crop of disjunctive definitions, it is at its most plausible when seen in such terms.
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  24.  82
    First Art and Art’s Definition.Stephen Davies - 1997 - Southern Journal of Philosophy 35 (1):19-34.
  25. The ontology of musical works and the authenticity of their performances.Stephen Davies - 1991 - Noûs 25 (1):21-41.
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  26. Authenticity in musical performance.Stephen Davies - 1987 - British Journal of Aesthetics 27 (1):39-50.
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  27. Musical meaning in a broader perspective.Constantijn Koopman & Stephen Davies - 2001 - Journal of Aesthetics and Art Criticism 59 (3):261–273.
  28.  94
    Responding Emotionally to Fictions.Stephen Davies - 2009 - Journal of Aesthetics and Art Criticism 67 (3):269 - 284.
    It is widely held that there is a paradox in the fact that we respond emotionally to characters, situations, or events that we know to be fictional, or in other words, when they do not exist. To take a familiar example.
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  29. John Cage's 4′33″: Is it music?Stephen Davies - 1997 - Australasian Journal of Philosophy 75 (4):448 – 462.
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  30.  10
    First Art and Art's Definition.Stephen Davies - 2010 - Southern Journal of Philosophy 35 (1):19-34.
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  31.  61
    The aesthetic relevance of authors' and painters' intentions.Stephen Davies - 1982 - Journal of Aesthetics and Art Criticism 41 (1):65-76.
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  32. Why listen to sad music if it makes one feel sad?Stephen Davies - 1997 - In Jenefer Robinson (ed.), Music & Meaning. Cornell University Press.
  33. Relativism in interpretation.Stephen Davies - 1995 - Journal of Aesthetics and Art Criticism 53 (1):8-13.
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  34. Infectious music: Music-listener emotional contagion.Stephen Davies - 2011 - In Amy Coplan & Peter Goldie (eds.), Empathy: Philosophical and Psychological Perspectives. Oxford University Press.
  35.  71
    Musical works and orchestral colour.Stephen Davies - 2008 - British Journal of Aesthetics 48 (4):363-375.
    known as timbral sonicism, accepts that a musical work's orchestral colour is a factor in its identity, but denies that the use of the specified instruments is required for an authentic rendition of the work provided that sounds as of those instruments are achieved. This position has been defended by Julian Dodd. In arguing against his view, I appeal to empirical work showing that composers, musicians, and listeners typically hear through music to the actions that go into its production. In (...)
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  36.  19
    Rothschild reversed: explaining the exceptionalism of biomedical research, 1971–1981.Stephen M. Davies - 2019 - British Journal for the History of Science 52 (1):143-163.
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  37.  24
    Sound Sentiment: An Essay on the Musical Emotions.Stephen Davies - 1991 - Journal of Aesthetics and Art Criticism 49 (1):83-85.
  38.  34
    Music-to-listener emotional contagion.Stephen Davies - 2013 - In Tom Cochrane, Bernardino Fantini & Klaus R. Scherer (eds.), The Emotional Power of Music: Multidisciplinary Perspectives on Musical Arousal, Expression, and Social Control. Oxford University Press. pp. 169.
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  39.  85
    Balinese aesthetics.Stephen Davies - 2007 - Journal of Aesthetics and Art Criticism 65 (1):21–29.
    According to the Balinese expert, Dr. Anak Agung Mad ´e Djelantik, “no writings about aesthetics specifically as a discipline exist in Bali.”1 The arts are discussed in ancient palm leaf texts, but mainly in connection with religion, spirituality, ceremony, and the like. However, there are famous accounts by expatriate Westerners and anthropologists.2 There have also been collaborations between Balinese and Western scholars.3 In addition, there is a significant literature written in Indonesian by Balinese experts, beginning in the 1970s.4 Considerable experience (...)
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  40. Aesthetic theory. Definitions of art.Stephen Davies - 2000 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  41.  33
    Interpreting contextualities.Stephen Davies - 1996 - Philosophy and Literature 20 (1):20-38.
    In lieu of an abstract, here is a brief excerpt of the content:Interpreting ContextualitiesStephen DaviesIf, as so often demanded, the context of a literary work should be considered in interpreting it, which context is that? Is it the past context within which the work was created, or, rather, the different context in which the book and interpreter presently are located? In this essay, I consider theories of interpretation that disagree on the answers to these questions. To appropriate terms that have (...)
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  42. Rock versus classical music.Stephen Davies - 1999 - Journal of Aesthetics and Art Criticism 57 (2):193-204.
  43.  63
    How Ancient is Art?Stephen Davies - 2015 - Evental Aesthetics 4 (2):22-45.
    In this paper I suggest that music and dance of an artful kind could pre-date the emergence of our species by several hundred thousand years. Our progenitor, H. heidelbergensis, had the necessary physiological resources and social capacities. And she inherited older modes of moving and vocalizing that could have laid the foundations for dance and music. Admittedly, for her, these artistic activities would have been more about sharing and expressing emotions than about symbolizing abstract ideas or conveying complex thoughts. But (...)
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  44.  84
    Beardsley and the autonomy of the work of art.Stephen Davies - 2005 - Journal of Aesthetics and Art Criticism 63 (2):179–183.
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  45.  91
    Art and Science: A Philosophical Sketch of Their Historical Complexity and Codependence.Nicolas J. Bullot, William P. Seeley & Stephen Davies - 2017 - Journal of Aesthetics and Art Criticism 75 (4):453-463.
    To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...)
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  46.  28
    Functional and Procedural Definitions of Art.Stephen Davies - 1990 - The Journal of Aesthetic Education 24 (2):99.
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  47. Versions of musical works and literary translations.Stephen Davies - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.
    A less often remarked fact is that a work’s composition can overshoot its completion. It is the description apt for these cases that is the topic of this chapter. But before I get to that, it is useful to describe some of the signs that show a work to be finished.
     
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  48.  98
    Perceiving melodies and perceiving musical colors.Stephen Davies - 2010 - Review of Philosophy and Psychology 1 (1):19-39.
  49. Trying to define art as the sum of the arts.Stephen Davies - 2008 - Pazhouhesh Nameh-E Farhangestan-E Honar (Research Journal of the Iranian Academy of the Arts) 8:12–23.
    defining art conjunctively, that is, by defining the individual arts and joining these definitions in an exhaustive list. I suggest that the individual art forms are no easier to define than is the general category of art. As well, not everything falling within a given art form counts as art, not every instance of art in the given medium falls within the art form, and some artworks do not belong to an art form at all, so conjoining definitions of the (...)
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  50. Life is a Passacaglia.Stephen Davies - 2009 - Philosophy and Literature 33 (2):315-328.
    Arthur C. Danto taught that an artwork’s identity and content depend on "an atmosphere of theory the eye cannot de[s]cry" (1964:580). By "theory", he did not mean the ideas developed by philosophers of art. His point was that an artwork can be properly recognized and appreciated only when seen in relation to the heritage of works, writings, practices, genres, and conventions that form the ground on which it stands out as subject. In brief, the work must be seen against the (...)
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1 — 50 / 156