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  1. Patterns of Intention: On the Historical Explanation of Pictures.Michael Baxandall - 1986 - Journal of Aesthetics and Art Criticism 45 (1):94-95.
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  • The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music.Lydia Goehr - 1992 - Oxford University Press.
    What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. Out of the historical thesis, Goehr draws philosophical conclusions about the (...)
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  • You Can't Judge a Book by Its Cover: The Aesthetics of Titles and Other Epitextual Devices.Colin Symes - 1992 - Journal of Aesthetic Education 26 (3):17.
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  • The ‘Great Divide’ in Music.James O. Young - 2005 - British Journal of Aesthetics 45 (2):175-184.
    Several prominent philosophers of music, including Lydia Goehr and Peter Kivy, maintain that the experience of music changed drastically in about 1800. According to the great divide hypothesis, prior to 1800 audiences often scarcely attended to music. At other times, music was appreciated as part of social, civic, or religious ceremonies. After the great divide, audiences began to appreciate music as an exclusive object of aesthetic experience. The great divide hypothesis is false. The musicological record reveals that prior to the (...)
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  • Paintings and Their Places.Susan L. Feagin - 1995 - Australasian Journal of Philosophy 73 (2):260 – 268.
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  • The Invention of Art: A Cultural History.Larry Shiner - 2003 - Journal of Aesthetics and Art Criticism 61 (4):401-403.
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  • Some Reflections on Titles of Works of Art.George E. Yoos - 1966 - British Journal of Aesthetics 6 (4):351-364.
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  • Titles, Labels, and Names: A House of Mirrors.Greg Petersen - 2006 - Journal of Aesthetic Education 40 (2):29-44.
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  • The Role of Titles in Identifying Literary Works.S. J. Wilsmore - 1987 - Journal of Aesthetics and Art Criticism 45 (4):403-408.
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  • Titles.Jerrold Levinson - 1985 - Journal of Aesthetics and Art Criticism 44 (1):29-39.
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  • Structure and Functions of the Title in Literature.Gérard Genette & Bernard Crampé - 1988 - Critical Inquiry 14 (4):692-720.
    Wishing to contribute to the brief history of title science, I would argue that the difference in terminology between “secondary title” and “subtitle” is too weak for the mind to grasp; and since, as Duchet has noted, the principal feature of his “subtitle” is to contain a more or less explicit generic indication, it would be simpler and more vocative to rebaptize it as such, thereby freeing the term “subtitle” to resume its usual present meaning. Hence these three terms: “title” (...)
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