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  1. Entrevista a Luis de Lille, vocalista latino del opening “La fantástica aventura” de Dragon Ball. “Que la gente pueda sentir lo que se canta, que puedas ‘contagiar’ ese sentimiento”.Jesús Miguel Delgado Del Aguila - 2023 - Aularia. Revista Digital de Educomunicación 12:63-68.
    Luis de Lille es conocido por ser uno de los primeros vocalistas e intérpretes de un anime japonés de éxito mundial llamado Dragon Ball. En la entrevista que le realicé, le planteé unas preguntas que estaban relacionadas con el universo musical de esta serie animada. Sus respuestas consolidan un panorama sobre los requisitos indispensables para obtener un buen resultado en las adaptaciones y las interpretaciones que se hacen de las canciones que están en otros idiomas distintos del español. La experiencia (...)
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  2. Niedźwiękowe momenty dzieła muzycznego jako problem filozofii muzyki.Andrzej Krawiec - 2022 - Logos I Ethos 60 (2):179-202.
    A work of music as an artefact is a particular acoustic material. However, the sounds are not identical with music since they only constitute the external appearance of a musical work and its most explicit layer, while aesthetic perception is certainly not limited to the superficial perception of sounds. Contemporary research in the field of fine arts by Gottfried Boehm and Georges Didi-Huberman showed new possibilities of revealing the hidden inner phenomenality of a work of art. Yet, is it possible (...)
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  3. Musical agency and collaboration in the digital age.Tom Roberts & Joel Krueger - 2022 - In Kath Bicknell & John Sutton (eds.), Collaborative Embodied Performance: Ecologies of Skill. New York: Bloomsbury. pp. 125-140.
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  4. Improvisation, Indeterminacy, and Ontology: Some Perspectives on Music and the Posthumanities.Iain Campbell - 2021 - Contemporary Music Review 40 (4):409-424.
    In this article I address some questions concerning the emerging conjunction of musical research on improvisation and work in the ‘posthumanities’, in particular the theoretical results of the ‘ontological turn’ in the humanities. Engaging with the work of the composer John Cage, and George E. Lewis’s framing of Cage’s performative indeterminacy as a ‘Eurological’ practice that excludes ‘Afrological’ jazz improvisation, I examine how critical discourse on Cage and his conception of sound is relevant to the improvisation-posthumanities conjunction. After discussing some (...)
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  5. Competence, Counterpoint and Harmony: A triad of semiotic concepts for the scholarly study of dance.Juan Felipe Miranda Medina - 2020 - Signata. Annales des Sémiotiques/Annals of Semiotics 11.
    This work presents to dance and music scholarship the concept of competence, developed and deployed by Greimas, together with the semiotic concepts of counterpoint and harmony. I emphasize competence as a temporal process that requires sanction by an external entity and which corresponds to the level of surface narrative syntax within Greimas’s method of ‘generative trajectory’. To exemplify the application of the generative trajectory to dance, I present the case of the contrapunto de zapateo from Peru. In this step dance, (...)
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  6. Musical “Covers” and the Culture Industry.Babette Babich - 2018 - Research in Phenomenology 48 (3):385-407.
    This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of mass consumer but also the ghostly time-space of music in the broadcast world. A brief allusion to Rilke complements (...)
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  7. Repeatable Artworks and the Relevant Similarity Relation.Sherri Irvin - 2018 - Journal of Aesthetic Education 52 (2):30.
    Repeatable artworks, such as novels and musical works, have often been construed as universals whose instances are particular printings or performances. In Art and Art-Attempts, Christy Mag Uidhir offers a nominalist account of repeatable artworks, eschewing talk of universals. Mag Uidhir argues that all artworks are concrete, and artworks that we regard as repeatable are simply unified by a relevant similarity relation: we use the name Beloved to refer to two concrete printed novels because they are relevantly similar to each (...)
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  8. Rock as a Three-Value Tradition.Christopher Bartel - 2017 - Journal of Aesthetics and Art Criticism 75 (2):143-154.
    Gracyk, Kania, and Davies all agree that the rock tradition is distinctive for the central place that it gives to the appreciation of recorded tracks. But we should not be led by those arguments to conclude that the central position of the recorded track makes such appreciation the exclusive interest in rock. I argue that both songwriting and live performance are also central to the rock tradition by showing that the practice of recording tracks admits of a diversity of goals (...)
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  9. Impurely Musical Make-Believe.Eran Guter & Inbal Guter - 2015 - In Alexander Bareis & Lene Nordrum (eds.), How to Make-Believe: The Fictional Truths of the Representational Arts. De Gruyter. pp. 283-306.
    In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...)
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  10. Musical twofoldness.Bence Nanay - 2012 - The Monist 95 (4):607-624.
    The concept of twofoldness plays an important role in understanding the aesthetic appreciation of pictures. My claim is that it also plays an important role in understanding the aesthetic appreciation of musical performances. I argue that when we are aesthetically appreciating the performance of a musical work, we are simultaneously attending to both the features of the performed musical work and the features of the token performance we are listening to. This twofold experience explains a number of salient aspects of (...)
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  11. Critical Performances.Jonathan A. Neufeld - 2012 - Teorema: International Journal of Philosophy (3):89-104.
    Philosophers of music commonly distinguish performative from critical interpretations. I would like to suggest that the distinction between critical and performative interpretations is well captured by an analogy to legal critics and judges. This parallel draws attention to several features of performative interpretation that are typically overlooked, and deemphasizes epistemic problems with performative interpretations that I believe are typically blown out of proportion and ultimately fail to capture interesting features of performative interpretation. There is an important distinction to be made (...)
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  12. “What Has Coltrane to Do With Mozart: The Dynamism and Built-in Flexibility of Music”.Cynthia R. Nielsen - 2009 - Expositions 3:57-71.
    Although contemporary Western culture and criticism has usually valued composition over improvisation and placed the authority of a musical work with the written text rather than the performer, this essay posits these divisions as too facile to articulate the complex dynamics of making music in any genre or form. Rather it insists that music should be understood as pieces that are created with specific intentions by composers but which possess possibilities of interpretation that can only be brought out through performance.
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  13. Mag Uidhir on performance.P. D. Magnus - 2008 - British Journal of Aesthetics 48 (3):338-345.
    Christy Mag Uidhir has recently argued (a) that there is no in principle aesthetic difference between a live performance and a recording of that performance, and (b) that the proper aesthetic object is a type which is instantiated by the performance and potentially repeatable when recordings are played back. This paper considers several objections to (a) and finds them lacking. I then consider improvised music, a subject that Mag Uidhir explicitly brackets in his discussion. Improvisation reveals problems with (b), because (...)
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  14. Recordings as Performances.Christy Mag Uidhir - 2007 - British Journal of Aesthetics 47 (3):298-314.
    This article claims that there is no in principle aesthetic difference between a live performance and a recording of that performance, and as such, performance individuation ought to be revised to reflect this. We ought to regard performances as types able to be instantiated both by live performances and by recordings of those performances, or we ought to abandon performances qua aesthetic objects.
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  15. Rettende Interpretation.Andreas Dorschel - 2003 - In Otto Kolleritsch (ed.), Musikalische Produktion und Interpretation. Zur historischen Unaufhebbarkeit einer ästhetischen Konstellation. Universal Edition. pp. 199-211.
    Aestheticians in the tradition of Critical Theory have claimed that the or a purpose of musical interpretation is somehow to save or salvage or rescue ("retten") the musical work. What sense, if any, can be made of this claim? The notion of salvage or rescue presupposes the concept of danger. Threats to works of art emerge from two sources: from outside and from inside. Whilst the former problem is only touched upon, the latter is discussed in some detail, using the (...)
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