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  1. The Ethics of Singing Along: The Case of “Mind of a Lunatic”.Aaron Smuts - 2013 - Journal of Aesthetics and Art Criticism 71 (1):121-129.
    In contrast to film, theater, and literature, audiences typically sing along with popular songs. This can encourage a first-person mode of engagement with the narrative content. Unlike mere spectators, listeners sometimes imagine acting out the content when it is recited in the first-person. This is a common mode of engaging with popular music. And it can be uniquely morally problematic. It is problematic when it involves the enjoyment of imaginatively doing evil. I defend a Moorean view on the issue: It (...)
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  • Imagination.Tamar Szabó Gendler - 2012 - In Ed Zalta (ed.), Stanford Encyclopedia of Philosophy. Stanford Encyclopedia of Philosophy.
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  • Egoism and Altruism.Bernard A. O. Williams - 1973 - In Bernard Williams (ed.), Problems of the Self. Cambridge [Eng.]: Cambridge University Press.
    A discussion of egoism and altruism as related both to ethical theory and moral psychology. Williams considers and rejects various arguments for and against the existence of egoistic motives and the rationality of someone motivated by self-interest. He ultimately attempts to give a more Humean defense of altruism, as opposed to the more Kantian defenses found in Thomas Nagel, for example.
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  • Performer, Persona, and the Evaluation of Musical Performance.Theodore Gracyk - 2017 - Contemporary Aesthetics 15 (1).
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  • Musical Performance.Stan Godlovitch - 2001 - Journal of Aesthetics and Art Criticism 59 (3):339-341.
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  • Mimesis as Make-Believe: On the Foundations of the Representational Arts.Kendall L. Walton - 1990 - Journal of Aesthetics and Art Criticism 49 (2):161-166.
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  • Just a song? Exploring the aesthetics of popular song performance.Jeanette Bicknell - 2005 - Journal of Aesthetics and Art Criticism 63 (3):261–270.
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  • Excess in Art: The Case of Oversinging.Jeanette Bicknell - 2018 - Journal of Aesthetics and Art Criticism 76 (1):83-92.
    “Oversinging” is singing that is excessive in one or more dimensions: too loud, too ornamented, too melismatic, too expressive, or employing too much vibrato. I begin with a characterization of oversinging and establish a context for discussion (Section I). Next I consider performances by Christina Aguilera and Michael Bolton as examples (Section II). In light of these examples, I consider how oversinging might be both aesthetically and morally problematic (Section III). Along the way I raise concerns about authenticity and sincerity (...)
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  • The Nature of Fiction.Peter Lamarque - 1993 - Philosophical Quarterly 43 (171):253-256.
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  • I Wanna Be Me: Rock Music and the Politics of Identity.Theodore Gracyk - 2003 - Journal of Aesthetics and Art Criticism 61 (3):307-309.
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  • Double Vision: Moral Philosophy and Shakespearean Drama.Tzachi Zamir - 2008 - Journal of Aesthetics and Art Criticism 66 (2):208-210.
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  • Meanings of Songs and Meanings of Song Performances.Theodore Gracyk - 2013 - Journal of Aesthetics and Art Criticism 71 (1):23-33.
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  • The Dialogue between Words and Music in the Composition and Comprehension of Song.David Davies - 2013 - Journal of Aesthetics and Art Criticism 71 (1):13-22.
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  • Jazz Vocal Interpretation: A Philosophical Analysis.Jerrold Levinson - 2013 - Journal of Aesthetics and Art Criticism 71 (1):35-43.
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