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  1. História da Música - Textos Breves.Juliano Gustavo Dos Santos Ozga - Julik - 2019 - Ouro Preto, MG, 35400-000, Brasil: J.G.S.Ozga Editor Independente.
    PREFÁCIO -/- A descoberta do ouro no interior de Minas Gerais, sobretudo em Vila Rica, atual cidade de Ouro Preto, desencadeou na formação de uma sociedade refinada. A febre pelo sonho dourado fez crescer o número de pessoas de diversas nações que migraram para lá em busca da riqueza.
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  2. Avant-Gardes, Afrofuturism, and Philosophical Readings of Rhythm.Iain Campbell - 2019 - In Reynaldo Anderson & Clinton R. Fluker (eds.), The Black Speculative Arts Movement: Black Futurity, Art+Design. Lanham, MD: Lexington Books. pp. 27-49.
    Here I will put forward a claim about rhythm – that rhythm is relation. To develop this I will explore the entanglement of and antagonism between two notions of the musical avant-garde and its theorization. The first of these is derived from the European classical tradition, the second concerns Afrodiasporic musical practices. This essay comes in two parts. The first will consider some music-theoretical and philosophical ideas about rhythm in the post-classical avant-garde. Here I will explore how these ideas have (...)
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  3. Bachelard and Deleuze on and with Experimental Science, Experimental Philosophy, and Experimental Music.Iain Campbell - 2019 - In Guillaume Collett (ed.), Deleuze, Guattari, and the Problem of Transdisciplinarity. London: Bloomsbury. pp. 73-104.
    In this chapter I look at some questions around the notion of experimentation in philosophy, science, and the arts, through the thought of Gaston Bachelard and Gilles Deleuze. My argument is articulated around three areas of enquiry – Bachelard’s work on the experimental sciences, Deleuze’s notion of philosophy as an experimental practice, and recent musicological debate around the practical and political stakes of the term ‘experimental music’. By drawing together these three senses of experimentation, I test the possibilities of understanding (...)
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  4. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty. New Essays in Aesthetics and the Philosophy of Art. München, Deutschland:
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
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  5. Atmosphere.Friedlind Riedel - 2019 - In Jan Slaby & ‎Christian von Scheve (eds.), Affective Societies: Key Concepts. New York: Routledge. pp. 85-95.
    This chapter traces the genealogy of the term atmosphere in the German language, identifies historical semantic shifts, and points to its grammatical specifics. The state of research on atmospheres is briefly summarized and an overview is offered of the various definitions of the term in different disciplines. Drawing on Timothy Morton’s theory of ambient poetics, and on Hermann Schmitz’s “new phenomenology,” four key characteristics of atmospheres are discussed and elaborated: their mereological constitution, their modal structure, their intensification at affective thresholds, (...)
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  6. Explanation and Reduction in the Cognitive Neuroscience Approach to the Musical Meaning Problem.Tomasz Szubart - 2019 - In Andrej Démuth (ed.), The Cognitive Aspects of Aesthetic Experience – Selected Problems. Berlin: Peter Lang. pp. 39-50.
    The aim of this paper is to refer basic philosophical approaches to the problem of musical meaning and, on the other hand, to describe some examples of the research on musical meaning found in the field of cognitive neuroscience. By looking at those two approaches together it can be seen that there is still no agreement on how musical meaning should be understood, often due to several methodological problems of which the most important seem to be the possibility of inter-theoretical (...)
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  7. A Critique of Susanne Langer’s View of Musical Temporality.Eran Guter & Inbal Guter - 2018 - Proceedings of the European Society for Aesthetics, Vol. 10.
    Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: “felt time” and “clock time.” For Langer, musical time is exclusively felt time, and in this sense, music is “time made audible.” However, Langer also postulates what we would call ‘a strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this paper we take issue with the ‘strong suspension thesis’ and its implications and ramifications regarding not (...)
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  8. Carlo Serra “Tiempo y escansión. Contribución sobre el significado rítmico de la duración entre Husserl y Bachelard” - Traducción de Facundo Bey.Facundo Bey - 2018 - Boletín de Estética 14 (45):42-76.
    English Title: Time and scansion: rythmical meaning of Duration between Husserl and Bachelard. -/- Abstract: Inside phenomenological search, present time and instant live inside a troubled dialectic: for Husserl present runs, widening out past and future, in the same moment, like the Heraclitean bowstring which stretches between two dimensions. Gaston Bachelard, on the contrary, is the thinker of Discreteness, where temporal continuum is linked to the reciprocal differentiating of instants in the duration. So, the conceptions of time inside these philosophers (...)
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  9. El papel de la música en la educación según la Política de Aristóteles.Kênio Estrela - 2018 - Fragmentos de Cultura 28 (n.4):465-471.
    Music is a multifaceted discipline. It has repercussions in the most diverse areas of knowledge. It appears strongly in the development of education and philosophy since antiquity. As a representation of this importance we can find in Book VIII of Aristotle’s Politics an important argumentation about the role of music in the education of young people and adults in the polis. This paper will present an interpretation of Aristotle’s perspective on the role of music in education. -/- .
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  10. “A Small, Shabby Crystal, yet a Crystal”: A Life of Music in Wittgenstein’s Denkbewegungen.Eran Guter - 2019 - In B. Sieradzka-Baziur, I. Somavilla & C. Hamphries (eds.), Wittgenstein's Denkbewegungen. Diaries 1930-1932/1936-1937: Interdisciplinary Perspectives. Innsbruck, Austria: StudienVerlag. pp. 83-112.
    Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical acculturation, the perils (...)
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  11. D'une graphie qui ne dit rien. Les ambiguïtés de la notation chorégraphique.Frédéric Pouillaude - 2004 - Poetique 1 (137):99-123.
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  12. Strategic Afro-Modernism, Dynamic Hybridity, and Bebop's Socio-Political Significance.Cynthia R. Nielsen - 2013 - In Mathieu Deflem (ed.), Music and Law: Sociology of Crime, Law and Deviance, Volume 18. Bingley, UK: Emerald Books. pp. 129-148.
    In this chapter, I argue that one can articulate a historically attuned and analytically rich model for understanding jazz in its various inflections. That is, on the one hand, such a model permits us to affirm jazz as a historically conditioned, dynamic hybridity. On the other hand, to acknowledge jazz’s open and multiple character in no way negates our ability to identify discernible features of various styles and aesthetic traditions. Additionally, my model affirms the sociopolitical, legal (Jim Crow and copyright (...)
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  13. El Compendium musicae y la confesión de Descartes.Mario Edmundo Chávez Tortolero - 2016 - Theoría. Revista del Colegio de Filosofía 31:133-148.
    In this paper I will expose the contents of the Compendium musicae in the light of the Cartesian philosophy. Firstly, I try to comprehend the text as a theory of music based on the nature of sound. To that end, it is important to show the features of the Cartesian philosophy that are already present in the text, such as deductibility, mathematization and mechanism. Secondly, I also try to show the presence of a philosophical problem widely discussed in other parts (...)
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  14. John Cage, Gilles Deleuze, and the Idea of Sound.Iain Campbell - 2017 - Parallax 23 (3):361-378.
    In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop a path between (...)
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  15. Music and Mathematics: Modest Support for the Oft-Claimed Relationship.Kathryn Vaughn - 2000 - Journal of Aesthetic Education 34 (3/4):149.
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  16. Logical Theatrics, or Floes on Flows: Translating Quine with the Shins.Joshua M. Hall - 2016 - European Journal of Pragmatism and American Philosophy 8 (2).
    I will begin this comparative analysis with Quine, focusing on the front matter and first chapter of Word and Object (alongside From a Logical Point of View and two other short pieces), attempting to illuminate there a (1) basis of excessive, yet familiar, chaos, (2) method of improvised, dramatic distortion, and (3) consequent neo-Pragmatist metaphysics. Having elaborated this Quinian basis, method and metaphysics, I will then show that they can be productively translated into James Mercer’s poetic lyrics for The Shins, (...)
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  17. Leonard Cohen and Philosophy: Various Positions. [REVIEW]Montgomery David - 2016 - CAML Review/Revue de L'ACBM 44 (2):57-61.
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  18. "I Drink Therefore I Am: A Philosopher's Guide to Wine" by Roger Scruton. [REVIEW]Tim Crane - 2011 - Philosophy 86 (1):138-42.
    Of all the things we eat or drink, wine is without question the most complex. So it should not be surprising that philosophers have turned their attention to wine: complex phenomena can lend themselves to philosophical speculation. Wine is complex not just in the variety of tastes it presents – ‘wine tastes of everything apart from grapes’, I once heard an expert say – but in its meaning...
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  19. On the Ancient Idea That Music Shapes Character.James Harold - 2016 - Dao: A Journal of Comparative Philosophy 15 (3):341-354.
    Ancient Chinese and Greek thinkers alike were preoccupied with the moral value of music; they distinguished between good and bad music by looking at the music’s effect on moral character. The idea can be understood in terms of two closely related questions. Does music have the power to affect the ethical character of either listener or performer? If it does, is it better as music for doing so? I argue that an affirmative answers to both questions are more plausible than (...)
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  20. Music, Neuroscience, and the Psychology of Well-Being: A Précis.Adam M. Croom - 2012 - Frontiers in Psychology 2:393.
    In Flourish, the positive psychologist Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or well-being: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted to (...)
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  21. Kind of Borrowed, Kind of Blue.P. D. Magnus - 2016 - Journal of Aesthetics and Art Criticism 74 (2):179-185.
    In late 2014, the jazz combo Mostly Other People Do the Killing released Blue—an album that is a note-for-note remake of Miles Davis's 1959 landmark album Kind of Blue. This is a thought experiment made concrete, raising metaphysical puzzles familiar from discussion of indiscernible counterparts. It is an actual album, rather than merely a concept, and so poses the aesthetic puzzle of why one would ever actually listen to it.
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  22. Jamie C. Kassler, Seeking Truth: Roger North’s Notes on Newton and Correspondence with Samuel Clarke, C. 1704–1713. [REVIEW]Timothy Yenter - 2015 - Isis 106 (4):925-926.
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  23. Die Idee der Verwandlung.Andreas Dorschel - 2007 - In Verwandlungsmusik. Über komponierte Transfigurationen. Universal Edition. pp. 11-51.
    Within the European history of ideas, at least three conceptions of metamorphosis can be distinguished. First, as celebrated in Ovid’s Metamorphoses, there is the vision of an open-ended flux of shapes in all directions, potentially with the ambiguous result of wavering identity. Secondly, at the centre of the synoptic gospels Jesus’s transfiguration is presented as a luminous elevation, rendering his true nature unambiguous. Thirdly, alchemy conceives of metamorphosis as contingent upon a meeting of polarities. The distinction is fit to disclose (...)
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  24. Walt Whitman and Modern Music War, Desire, and the Trials of Nationhood.Lawrence Kramer - 2000
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  25. Kant's Expressive Theory of Music.Samantha Matherne - 2014 - Journal of Aesthetics and Art Criticism 72 (2):129-145.
    Several prominent philosophers of art have worried about whether Kant has a coherent theory of music on account of two perceived tensions in his view. First, there appears to be a conflict between his formalist and expressive commitments. Second (and even worse), Kant defends seemingly contradictory claims about music being beautiful and merely agreeable, that is, not beautiful. Against these critics, I show that Kant has a consistent view of music that reconciles these tensions. I argue that, for Kant, music (...)
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  26. Notes for a Phenomenology of Musical Performance.Arnold Berleant - 1999 - Philosophy of Music Education Review 7 (2):73-79.
    In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, nonetheless, certain (...)
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  27. Interrupción de tendencias y criterio del gusto: La estética del criterio del gusto de David Hume y realización en la filosofía de la música de Leonard Meyer.Juan Pablo Bermúdez Rey - 2003 - Universitas Philosophica 40:29-63.
    Hume presenta su teoría estética en el ensayo Sobre el criterio del gusto [On the Standard of Taste], en el que propone la existencia de un criterio [standard] capaz de zanjar discusiones de gusto. Ese criterio se basa en la existencia de ciertas formas y cualidades que complacen naturalmente a todo ser humano. Hume asevera que tal criterio corresponde a la opinión del crítico: un hombre que ha desplegado particularmente sus facultades cognoscitivas, lo cual le permite percibir esas finas cualidades (...)
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  28. What's so Important About Music Education?(Review).Leonard Tan - 2011 - Philosophy of Music Education Review 19 (2):201-205.
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  29. Musik nach Kant.Christian Berger - 2006 - In Albrecht Riethmüller & Michael Beiche (eds.), Musik--Zu Begriff Und Konzepten: Berliner Symposion Zum Andenken an Hans Heinrich Eggebrecht. Franz Steiner. pp. 31-41.
    Kants Musikästhetik wird weithin unterschätzt. Dabei bietet sie die entscheidenden Ansätze zur Befreiung der Musik aus den Fängen der Nachahmungsästhetik, wie sie vor allem E.T.A.Hoffman kongenial umgesetzt hat.
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  30. Lady Sings the Blues: A Woman's Perspective on Authenticity.Meghan Winsby - 2012 - In Jesse Steinberg & Abrol Fairweather (eds.), Blues -- Philosophy for Everyone: Thinking Deep About Feeling Low. Wiley.
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  31. Four Theories of Inversion in Art and Music.John Dilworth - 2002 - Southern Journal of Philosophy 40 (1):1-19.
    Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works as (...)
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  32. Why Music Moves Us.Jeanette Bicknell - 2009 - Palgrave-Macmillan.
    The tears of Odysseus -- History : music gives voice to the ineffable -- Tears, chills, and broken bones -- The music itself -- Explaining strong emotional responses to music I -- Explaining strong emotional responses to music II -- The sublime, revisited -- Conclusion : values.
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  33. Analysing Musical Multimedia.Nicholas Cook - 2000 - Oxford University Press.
    This book is the first to put forward a general theory of the manner in which different media--music, words, moving picture, and dance--work together to create multimedia. Beginning with a study of the way in which meaning is mediated in television commercials, the book concludes with in-depth readings of Disney's Fantasia, Madonna's video Material Girl, and Armide (Godard's sequence from the collaborative film Aria). Analysing Musical Multimedia not only shows how approaches deriving from music theory can contribute to the understanding (...)
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  34. Music in Narrative Film. On Motion and Stasis : Photography, "Moving Pictures," Music / David Neumeyer, Laura Neumeyer ; the Topos of "Evil Medieval" in American Horror Film Music / James Deaville ; la Leggenda Del Pianista Sull'oceano : Narration, Music, and Cinema / Rosa Stella Cassotti ; Music in Aki Kaurismäki's Film the Match Factory Girl / Erkki Pekkilä ; It's a Little Bit Funny : Moulin Rouge's Sparkling Postmodern Critique.Susan Ingram - 2006 - In Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.), Music, Meaning and Media. University of Helsinki.
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Definition of Music
  1. Radiohead and Some Questions About Music.Edward Slowik - 2009 - In George Reisch & B. W. Forbes (eds.), Radiohead and Philosophy. Chicago, IL: Open Court: pp. 41-52.
    This essay examines the music of Radiohead as a means of introducing various elementary concepts and theories in the philosophy of music.
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  2. Music and Language in Social Interaction: Synchrony, Antiphony, and Functional Origins.Nathan Oesch - 2019 - Frontiers in Psychology 10.
    Music and language are universal human abilities with many apparent similarities relating to their acoustics, structure, and frequent use in social situations. We might therefore expect them to be understood and processed similarly, and indeed an emerging body of research suggests that this is the case. But the focus has historically been on the individual, looking at the passive listener or the isolated speaker or performer, even though social interaction is the primary site of use for both domains. Nonetheless, an (...)
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  3. Resisting Hegemony Through Noise.Casey Robertson - 2019 - Assuming Gender 8 (7.1):50-73.
    This essay examines the cultural phenomena of noise in its perceived social constructions and demonstrates its emergence as a form of resistance against prevailing dominant hegemonic codes of culture. In particular, the paper explores the ability of noise to be enacted as a tool to escape the shackles of heteronormative constructions of sexuality and gender in the cultural landscape of the United States. Examined to support this argument are the contrasting works of two American artists: John Cage and Emilie Autumn. (...)
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  4. Eduard Hanslick's Formalism and His Most Influential Contemporary Critics.Sanja Sreckovic - 2014 - Belgrade Philosophical Annual 27:113-134.
    The paper deals with the formalistic view on music presented in Eduard Hanslick’s treatise On the Musically Beautiful, which is taken to be the foundingwork of the aesthtetics of music. In the paper I propose an interpretation of Hanslick’s treatise which differs on many points from the interpretations displayed in the works of several most influential contemporary aestheticians of music. My main thesis is that Hanslick’s treatise is misunderstood and incorrectly presented by these authors. I try to demonstrate this thesis (...)
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  5. Philosophy of Music (Encyclopedia Entry).Cynthia R. Nielsen - 2013 - In Robert L. Fastiggi, Joseph W. Koterski, Trevor Lipscombe, Victor Salas & Brendan Sweetman (eds.), New Catholic Encyclopedia: Supplement 2012-2013: Ethics and Philosophy. Detroit, MI, USA: Gale. pp. 1031–1036.
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  6. Review of The Soul of the World. [REVIEW]Subhasis Chattopadhyay - 2016 - Prabuddha Bharata or Awakened India 121 (September):672-3.
    Roger Scruton is dismissed by those who do not care to study him as a conservative philosopher. This review shows how Scruton is in fact more a theologian than a philosopher. This review is contrarian in tone to the reviews of Scruton to be found online and restores him as the rightful heir to theologians like Barth, Bultmann etc.
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Ontology of Music
  1. Interstitial Soundings: Philosophical Reflections on Improvisation, Practice, and Self-Making.Cynthia R. Nielsen - 2015
    In Interstitial Soundings, Cynthia R. Nielsen brings music and philosophy into a fruitful and mutually illuminating dialogue. Topics discussed include the following: music's dynamic ontology, performers and improvisers as co-composers, the communal character of music, jazz as hybrid and socially constructed, the sociopolitical import of bebop, Afro-modernism and its strategic deployments, jazz and racialized practices, continuities between Michel Foucault's discussion of self-making and creating one's musical voice, Alasdair MacIntyre on practice, and how one might harmonize MacIntyre's notion of virtue development (...)
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  2. Nietzsche’s Musical Conception of Time.Jonathan R. Cohen - 2008 - In Manuel Dries (ed.), Nietzsche on Time and History. Walter de Gruyter. pp. 291.
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  3. An Experiential Approach To Musical Semantics.Mark Reybrouck - 2008 - Semiotics:806-818.
    This paper is about knowledge construction in music listening. It argues for an experiential approach to music cognition, stressing the dynamic-vectorial field of meaning rather than the symbolic field. Starting from the conceptual framework of deixis and indexical devices, it elaborates on the concept of pointing as a heuristic guide for sense-making which allows the listener to conceive of perceptual elements in terms of salience, valence and semantical weight. As such, the act of (mental) pointing can be predicative, either in (...)
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  4. Messages in Art and Music: On Route to Understanding Musical Works with Jerrold Levinson.Małgorzata A. Szyszkowska - 2010 - Dialogue and Universalism 20 (3-4):97.
    In his article untitled Messages in Art Jerrold Levinson discusses the idea of a message behind a work of art. He argues that despite certain disclaimers put forward by artists it is „hard to deny that artworks (...) very often do have messages, and far from inexpressible ones”. From given examples it would seem that Levinson assumes that musical work just as other artworks sometimes generate messages and that in order for a work of music to be successful in expression (...)
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  5. Gestalt Theory: An Essay in Philosophy.Barry Smith - 1988 - In Foundations of Gestalt Theory. Vienna: Philosophia Verlag. pp. 11-81.
    The Austrian philosopher Christian von Ehrenfels published his essay "On 'Gestalt Qualities'" in 1890. The essay initiated a current of thought which enjoyed a powerful position in the philosophy and psychology of the first half of this century and has more recently enjoyed a minor resurgence of interest in the area of cognitive science, above all in criticisms of the so-called 'strong programme' in artificial intelligence. The theory of Gestalt is of course associated most specifically with psychologists of the Berlin (...)
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  6. 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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  7. David Davies, Art as Performance.Reviews by Robert Stecker & John Dilworth - 2005 - Journal of Aesthetics and Art Criticism 63 (1):75–80.
    In his absorbing book Art as Performance, David Davies argues that artworks should be identified, not with artistic products such as paintings or novels, but instead with the artistic actions or processes that produced such items. Such a view had an earlier incarnation in Currie’s widely criticized “action type hypothesis”, but Davies argues that it is instead action tokens rather than types with which artworks should be identified. This rich and complex work repays the closest study in spite of some (...)
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Musical Ontology, Misc
  1. Radiohead and Some Questions About Music.Edward Slowik - 2009 - In George Reisch & B. W. Forbes (eds.), Radiohead and Philosophy. Chicago, IL: Open Court: pp. 41-52.
    This essay examines the music of Radiohead as a means of introducing various elementary concepts and theories in the philosophy of music.
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  2. Why Can’T I Change Bruckner’s Eighth Symphony?David Friedell - 2020 - Philosophical Studies 177 (3):805-824.
    Musical works change. Bruckner revised his Eighth Symphony. Ella Fitzgerald and many other artists have made it acceptable to sing the jazz standard “All the Things You Are” without its original verse. If we accept that musical works genuinely change in these ways, a puzzle arises: why can’t I change Bruckner’s Eighth Symphony? More generally, why are some individuals in a privileged position when it comes to changing musical works and other artifacts, such as novels, films, and games? I give (...)
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  3. A Derridean Approach To Musical Identity.Laurel Ralston - 2008 - Postgraduate Journal of Aesthetics 5 (2):32-40.
    The issue of musical identity—of what defines works of music, gives each its unique character and distinguishes them from one another—is one of the central issues in the philosophy of music. Too often in the philosophical literature it is approached as a purely theoretical question, one that can be answered adequately through careful intellectual consideration of scores and performances. The typical philosophical approach to the performance of Western art music, particularly that composed between the Baroque and Romantic eras, is to (...)
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