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  1. Musical Meaning and Expression.Stephen Davies - 1994 - Cornell University Press.
    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 ...
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  • The Pleasures of Aesthetics: Philosophical Essays.Stephen Davies - 1996 - Journal of Aesthetics and Art Criticism 57 (3):371-374.
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  • Musical Meaning and Expression.Alan H. Goldman - 1996 - Philosophical Quarterly 46 (185):533-535.
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  • Themes in the Philosophy of Music.Saam Trivedi - 2003 - Journal of Aesthetic Education 37 (3):108.
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  • Music in the Moment.Jerrold Levinson - 1997 - Cornell University Press.
    Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not.
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  • Conceptual And Nonconceptual Modes Of Music Perception.Mark Debellis - 2005 - Postgraduate Journal of Aesthetics 2 (2):45-61.
    What does it mean to say that music perception is nonconceptual? As the passages from Meyer and Budd illustrate, one frequently encounters claims of this kind: it is often suggested that there is a level of perceptual contact with, or understanding or enjoyment of, music—one in which listeners typically engage—that does not require conceptualization. But just what does a claim of this sort amount to, and what arguments may be adduced for it? And is all musical hearing nonconceptual, or are (...)
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  • Musical Meaning in a Broader Perspective.Constantijn Koopman & Stephen Davies - 2001 - Journal of Aesthetics and Art Criticism 59 (3):261–273.
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  • Wittgenstein and the Understanding of Music.Roger Scruton - 2004 - British Journal of Aesthetics 44 (1):1-9.
    Wittgenstein's contribution to musical aesthetics is not often discussed, which is surprising, given his rare musicality and musical connections. His distinctive achievement is to have focused on the question of musical understanding, and to have connected this with two other philosophical problems: the nature of the first-person case, and the understanding of facial expressions. Wittgenstein's third-person approach to philosophical psychology leads him to emphasize the role of performance in the understanding of music, and also to introduce an ‘intransitive’ concept of (...)
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  • Musical Literacy.Jerrold Levinson - 1990 - Journal of Aesthetic Education 24 (1):17.
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  • Music and Conceptualization.Mark Debellis - 1997 - Mind 106 (423):599-602.
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  • Music and Conceptualization.Mark Debellis - 1998 - Philosophical Quarterly 48 (193):559-561.
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  • The Pleasures of Aesthetics.Jerrold Levinson - 1998 - Philosophical Quarterly 48 (193):555-556.
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  • Musical Works and Performances: A Philosophical Exploration.Stephen Davies - 2001 - 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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  • Themes in the Philosophy of Music.Stephen Davies - 2004 - Journal of Aesthetics and Art Criticism 62 (4):397-399.
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  • Concatenationism, Architectonicism, and the Appreciation of Music.Jerrold Levinson - 2006 - Revue Internationale de Philosophie 4:505-514.
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  • In Search of the Aesthetic.Roger Scruton - 2007 - British Journal of Aesthetics 47 (3):232-250.
    Is there such a subject as aesthetics? The lack of any pre-philosophical route to its subject matter, the historicity of its favoured concepts and artefacts, and the ideological character of its inception all suggest that the aesthetic is an invented category, which identifies no stable or universal feature of the human condition. Against this I argue that ordinary practical reasoning leads of its own accord to aesthetic judgement, and that the experience in which this judgement is founded is rooted in (...)
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