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  1. Critique of the Power of Judgment.Hannah Ginsborg, Immanuel Kant, Paul Guyer & Eric Matthews - 2002 - Philosophical Review 111 (3):429.
    This new translation is an extremely welcome addition to the continuing Cambridge Edition of Kant’s works. English-speaking readers of the third Critique have long been hampered by the lack of an adequate translation of this important and difficult work. James Creed Meredith’s much-reprinted translation has charm and elegance, but it is often too loose to be useful for scholarly purposes. Moreover it does not include the first version of Kant’s introduction, the so-called “First Introduction,” which is now recognized as indispensable (...)
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  • (1 other version)Mimesis as Make-Believe: On the Foundations of the Representational Arts.Kendall L. WALTON - 1990 - Philosophy 66 (258):527-529.
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  • The Inclusive Interpretation of Kant's Aesthetic Ideas.Samantha Matherne - 2013 - British Journal of Aesthetics 53 (1):21-39.
    In the Critique of the Power of Judgment, Kant offers a theory of artistic expression in which he claims that a work of art is a medium through which an artist expresses an ‘aesthetic idea’. While Kant’s theory of aesthetic ideas often receives rather restrictive interpretations, according to which aesthetic ideas can either present only moral concepts, or only moral concepts and purely rational concepts, in this article I offer an ‘inclusive interpretation’ of aesthetic ideas, according to which they can (...)
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  • Kant and the Claims of Taste.Eva Schaper - 1979 - Journal of Aesthetics and Art Criticism 38 (2):198-200.
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  • Values of Art: Pictures, Poetry and Music.Malcolm Budd - 1997 - Philosophical Quarterly 47 (187):246-248.
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  • (1 other version)Introduction to a Philosophy of Music.Peter Kivy & Geoffrey Madell - 2004 - Philosophical Quarterly 54 (214):199-202.
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  • 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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  • 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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  • Against emotion: Hanslick was right about music.Nick Zangwill - 2004 - British Journal of Aesthetics 44 (1):29-43.
    I argue that Hanslick was right to think that music should not be understood in terms of emotion. In particular, it is not essential to music to possess emotions, arouse emotions, express emotions, or represent emotions. All such theories are misguided.
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  • Musical Meaning and Expression.Alan H. Goldman - 1996 - Philosophical Quarterly 46 (185):533-535.
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  • Musical Meaning and Expression.Jenefer Robinson - 1996 - Journal of Aesthetics and Art Criticism 54 (3):307-309.
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  • Language, Music, and Mind.Stephen Davies - 1993 - Journal of Aesthetics and Art Criticism 52 (3):360-362.
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  • Antithetical Arts: On the Ancient Quarrel between Literature and Music.Peter Kivy - 2009 - Journal of Aesthetics and Art Criticism 67 (4):435-438.
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  • Dialogue: Paul Guyer and Henry Allison on Allison's Kant's theory of taste.Paul Guyer & Henry E. Allison - 2006 - In Rebecca Kukla (ed.), Aesthetics and Cognition in Kant's Critical Philosophy. New York: Cambridge University Press.
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  • Values of Art: Pictures, Poetry, and Music.Eileen John - 1999 - Journal of Aesthetics and Art Criticism 57 (1):76-78.
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  • What Should One Expect from a Philosophy of Music Education?Philip Alperson - 1991 - The Journal of Aesthetic Education 25 (3):215.
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  • (1 other version)Formalism and the Theory of Expression in Kant’s Aesthetics.Paul D. Guyer - 1977 - Kant Studien 68 (1-4):46-70.
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  • Kant's Aesthetics: The Roles of Form and Expression.Kenneth F. Rogerson - 1989 - Journal of Aesthetics and Art Criticism 47 (4):387-389.
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  • Immanuel Kant and the aesthetics of music.Herbert M. Schueller - 1955 - Journal of Aesthetics and Art Criticism 14 (2):218-247.
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  • Kant on music and the hierarchy of the arts.Herman Parret - 1998 - Journal of Aesthetics and Art Criticism 56 (3):251-264.
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  • Kant.Hannah Ginsborg - 2011 - In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. New York: Routledge.
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  • (1 other version)Listening with imagination: is music representational?Kendall Walton - 1997 - In Jenefer Robinson (ed.), Music & meaning. Ithaca [N.Y.]: Cornell University Press.
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  • The Quest for Voice: Music, Politics, and the Limits of Philosophy.Lydia Goehr - 2000 - Mind 109 (436):913-916.
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  • (1 other version)Shostakovich's Tenth symphony and the musical expression of cognitively complex emotions.Gregory Karl & Jenefer Robinson - 1997 - In Jenefer Robinson (ed.), Music & meaning. Ithaca [N.Y.]: Cornell University Press.
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  • Mimesis as Make-Believe: On the Foundations of the Representational Arts by Kendall Walton. [REVIEW]Gregory Currie - 1993 - Journal of Philosophy 90 (7):367-370.
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  • Aesthetics and the Theory of Criticism.Arnold Berleant - 1976 - Philosophy and Phenomenological Research 36 (4):583-584.
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  • Philosophies of Arts: An Essay in Differences.Malcolm Budd - 1997 - Philosophical and Phenomenological Research 60 (3):726-729.
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  • Kant's assessment of music in the critique of judgment.Martin Weatherston - 1996 - British Journal of Aesthetics 36 (1):56-65.
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  • Music as drama.Fred Everett Maus - 1997 - In Jenefer Robinson (ed.), Music & meaning. Ithaca [N.Y.]: Cornell University Press.
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  • The constructivist's dilemma.Robert Stecker - 1997 - Journal of Aesthetics and Art Criticism 55 (1):43-52.
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  • Feminine Endings: Music, Gender, and Sexuality.Susan Mcclary - 1992 - Journal of Aesthetics and Art Criticism 50 (4):338-340.
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  • The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music.Edward Lippman - 1993 - Journal of Aesthetics and Art Criticism 51 (4):630-632.
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  • The Quest for Voice: Music, Politics, and the Limits of Philosophy.Garry L. Hagberg - 2000 - Journal of Aesthetics and Art Criticism 58 (1):85-88.
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  • Sound and Semblance: Reflections on Musical Representation.Albert Hayward - 1985 - Journal of Aesthetics and Art Criticism 43 (4):405-407.
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  • Wagner.Thomas Grey - 2011 - In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. New York: Routledge.
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  • Developing Variations: Style and Ideology in Western Music.Rose Rosengard Subotnik - 1994 - Journal of Aesthetics and Art Criticism 52 (2):254-255.
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  • Sound and Semblance: Reflections on Musical Representation. [REVIEW]Stephanie Ross - 1986 - Philosophical Review 95 (2):284-288.
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