Results for 'Music'

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  1. Music as Affective Scaffolding.Joel Krueger - forthcoming - In David Clarke, Ruth Herbert & Eric Clarke (eds.), Music and Consciousness II. Oxford: Oxford University Press.
    For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. I argue that music is a beyond-the-head resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. I focus on music’s capacity to scaffold emotional consciousness, including the self-regulative processes (...)
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  2. Enacting Musical Experience.Joel Krueger - 2009 - Journal of Consciousness Studies 16 (2-3):98-123.
    I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we (...)
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  3. Sideways Music.Ned Markosian - 2019 - Analysis (1):anz039.
    There is a popular theory in the metaphysics of time according to which time is one of four similar dimensions that make up a single manifold that is appropriately called spacetime. One consequence of this thesis is that changing an object’s orientation in the manifold does not change its intrinsic features. In this paper I offer a new argument against this popular theory. I claim that an especially good performance of a particularly beautiful piece of music, when oriented within (...)
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  4. Music Practice and Participation for Psychological Well-Being: A Review of How Music Influences Positive Emotion, Engagement, Relationships, Meaning, and Accomplishment.Adam M. Croom - 2015 - Musicae Scientiae: The Journal of the European Society for the Cognitive Sciences of Music 19:44-64.
    In “Flourish,” Martin Seligman maintained that the elements of well-being consist of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes human flourishing or psychological well-being has remained a topic of continued debate among scholars, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would largely manifest most or all of the aforementioned PERMA factors. Further, in “A Neuroscientific Perspective on Music Therapy,” Stefan Koelsch also (...)
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  5. Musicing, Materiality, and the Emotional Niche.Joel Krueger - 2015 - Action, Criticism, and Theory for Music Education 14 (3):43-62.
    Building on Elliot and SilvermanÕs (2015) embodied and enactive approach to musicing, I argue for an extended approach: namely, the idea that music can function as an environmental scaffolding supporting the development of various experiences and embodied practices that would otherwise remain inaccessible. I focus especially on the materiality of music. I argue that one of the central ways we use music, as a material resource, is to manipulate social spaceÑand in so doing, manipulate our emotions. Acts (...)
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  6. Enacting Musical Content.Joel Krueger - 2011 - In Riccardo Manzotti (ed.), Situated Aesthetics: Art Beyond the Skin. Imprint Academic. pp. 63-85.
    This chapter offers the beginning of an enactive account of auditory experience—particularly the experience of listening sensitively to music. It investigates how sensorimotor regularities grant perceptual access to music qua music. Two specific claims are defended: (1) music manifests experientially as having complex spatial content; (2) sensorimotor regularities constrain this content. Musical content is thus brought to phenomenal presence by bodily exploring structural features of music. We enact musical content.
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  7. Music and Vague Existence.David Friedell - 2017 - Res Philosophica 94 (4):437-449.
    I explain a tension between musical creationism and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an instance of a general problem raised by artifacts, both (...)
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  8. Musical Manipulations and the Emotionally Extended Mind.Joel Krueger - 2014 - Empirical Musicology Review 9 (3-4):208-212.
    I respond to Kersten’s criticism in his article “Music and Cognitive Extension” of my approach to the musically extended emotional mind in Krueger (2014). I specify how we manipulate—and in so doing, integrate with—music when, as active listeners, we become part of a musically extended cognitive system. I also indicate how Kersten’s account might be enriched by paying closer attention to the way that music functions as an environmental artifact for emotion regulation.
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  9. Affordances and the Musically Extended Mind.Joel Krueger - 2013 - Frontiers in Psychology 4:1-12.
    I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances – via soliciting different forms of entrainment – enhance the functionality of various endogenous, emotiongranting regulative processes, drawing novel experiences out of us with an expanded complexity and phenomenal (...)
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  10. 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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  11. Musical Materialism and the Inheritance Problem.Chris Tillman & J. Spencer - 2012 - Analysis 72 (2):252-259.
    Some hold that musical works are fusions of, or coincide with, their performances. But if performances contain wrong notes, won't works inherit that property? We say ‘no’.
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  12. Music, Neuroscience, and the Psychology of Wellbeing: A Précis.Adam M. Croom - 2012 - Frontiers in Theoretical and Philosophical Psychology 2 (393):393.
    In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (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 (...)
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  13. 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, (...)
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  14. Music and Cognitive Extension.Luke Kersten - 2014 - Empirical Musicology Review 9 (3-4):193-202.
    Extended cognition holds that cognitive processes sometimes leak into the world (Dawson, 2013). A recent trend among proponents of extended cognition has been to put pressure on phenomena thought to be safe havens for internalists (Sneddon, 2011; Wilson, 2010; Wilson & Lenart, 2014). This paper attempts to continue this trend by arguing that music perception is an extended phenomenon. It is claimed that because music perception involves the detection of musical invariants within an “acoustic array”, the interaction between (...)
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  15. Doing Things with Music.Joel W. Krueger - 2011 - Phenomenology and the Cognitive Sciences 10 (1):1-22.
    This paper is an exploration of how we do things with music—that is, the way that we use music as an esthetic technology to enact micro-practices of emotion regulation, communicative expression, identity construction, and interpersonal coordination that drive core aspects of our emotional and social existence. The main thesis is: from birth, music is directly perceived as an affordance-laden structure. Music, I argue, affords a sonic world, an exploratory space or nested acoustic environment that further affords (...)
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  16.  40
    Music Communicates Affects, Not Basic Emotions – A Constructionist Account of Attribution of Emotional Meanings to Music.Julian Cespedes-Guevara & Tuomas Eerola - 2018 - Frontiers in Psychology 9.
    Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist (...)
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  17. Musical Sense-Making and the Concept of Affordance: An Ecosemiotic and Experiential Approach.Mark Reybrouck - 2012 - Biosemiotics 5 (3):391-409.
    This article is interdisciplinary in its claims. Evolving around the ecological concept of affordance, it brings together pragmatics and ecological psychology. Starting from the theoretical writings of Peirce, Dewey and James, the biosemiotic claims of von Uexküll, Gibson’s ecological approach to perception and some empirical evidence from recent neurobiological research, it elaborates on the concepts of experiential and enactive cognition as applied to music. In order to provide an operational description of this approach, it introduces some conceptual tools from (...)
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  18. Music as Atmosphere. Lines of Becoming in Congregational Worship.Friedlind Riedel - 2015 - Lebenswelt. Aesthetics and Philosophy of Experience 6:80-111.
    In this paper I offer critical attention to the notion of atmosphere in relation to music. By exploring the concept through the case study of the Closed Brethren worship services, I argue that atmosphere may provide analytical tools to explore the ineffable in ecclesial practices. Music, just as atmosphere, commonly occupies a realm of ineffability and undermines notions such as inside and outside, subject and object. For this reason I present music as a means of knowing the (...)
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  19. Musical Agency and Collaboration in the Digital Age.Tom Roberts & Joel Krueger - 2022 - In Kath Bicknell & John Sutton (eds.), Collaborative Embodied Performance: Ecologies of Skill. New York: Bloomsbury. pp. 125-140.
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  20. Musical Twofoldness.Bence Nanay - 2012 - The Monist 95 (4):607-624.
    The concept of twofoldness plays an important role in understanding the aesthetic appreciation of pictures. My claim is that it also plays an important role in understanding the aesthetic appreciation of musical performances. I argue that when we are aesthetically appreciating the performance of a musical work, we are simultaneously attending to both the features of the performed musical work and the features of the token performance we are listening to. This twofold experience explains a number of salient aspects of (...)
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  21. Country Music and the Problem of Authenticity.Evan Malone - forthcoming - British Journal of Aesthetics.
    In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, (...)
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  22. Music, Emotions and the Influence of the Cognitive Sciences.Tom Cochrane - 2010 - Philosophy Compass 5 (11):978-988.
    This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases (...)
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  23. Music, Emotion and Metaphor.Nick Zangwill - 2007 - Journal of Aesthetics and Art Criticism 65 (4):391-400.
    We describe music in terms of emotion. How should we understand this? Some say that emotion descriptions should be understood literally. Let us call those views “literalist.” By contrast “nonliteralists” deny this and say that such descriptions are typically metaphorical.1 This issue about the linguistic description of music is connected with a central issue about the na- ture of music. That issue is whether there is any essential connection between music and emotion. According to what we (...)
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  24. 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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  25. 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 (...)
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  26. Musical Works as Structural Universals.A. R. J. Fisher - forthcoming - Erkenntnis:1-23.
    In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory is an attractive and serviceable hypothesis. However, it is overlooked as a genuine competitor to the more well-known theories of Musical Platonism and nominalism. Worse still, there is no detailed account in the literature of the nature of the universals that the Aristotelian identifies musical works with. In this paper, I argue that the best version of (...)
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  27. Music as a source of emotion in film.Annabel J. Cohen - 2011 - In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press.
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  28.  42
    Music, Cage's Silence, and Art: An Interview with Stephen Davies, PhD.Marcella Georgi & Stephen Davies - 2022 - Stance 15:120-142.
    Stephen Davies taught philosophy at the University of Auckland, Auckland, New Zealand. His research specialty is the philosophy of art. He is a former President of the American Society for Aesthetics. His books include Definitions of Art (Cornell UP, 1991), Musical Meaning and Expression (Cornell UP, 1994), Musical Works and Performances (Clarendon, 2001), Themes in the Philosophy of Music (OUP, 2003), Philosophical Perspectives on Art (OUP, 2007), Musical Understandings and Other Essays on the Philosophy of Music (OUP, 2011), (...)
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  29. Music and Multimodal Mental Imagery.Bence Nanay - forthcoming - In Music and Mental Imagery. London: Routledge.
    Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery plays a crucial role in our engagement with (...)
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  30. Musical Worlds and the Extended Mind.Joel Krueger - 2018 - Proceedings of A Body of Knowledge - Embodied Cognition and the Arts Conference CTSA UCI, 8-10 Dec 2016.
    “4E” approaches in cognitive science see mind as embodied, embedded, enacted, and extended. They observe that we routinely “offload” part of our thinking onto body and world. Recently, 4E theorists have turned to music cognition: from work on music perception and musical emotions, to improvisation and music education. I continue this trend. I argue that music — like other tools and technologies — is a beyond-the-head resource that affords offloading. And via this offloading, music can (...)
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  31. The Aesthetics of Country Music.John Dyck - 2021 - Philosophy Compass 16 (5):e12729.
    Country music has not gotten much attention in philosophy. I introduce two philosophical issues that country music raises. First, country music is simple. Some people might think that its simplicity makes country music worse; I argue that simplicity is aesthetically valuable. The second issue is country music’s ideal of authenticity; fans and performers think that country should be real or genuine in a particular way. But country music scholars have debunked the idea that country (...)
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  32. Musical Works and Performance Evaluation.António Lopes - 2005 - Postgraduate Journal of Aesthetics 2 (2):76-86.
    This paper addresses the following problem: to what extent do ontological considerations about musical works affect our evaluation of performances of those works? I argue for the claim that at least some important grounds on which performances are evaluated are specific to them, in that these grounds are either independent from, or related but not fully determined by, the properties of the works they are of. In the first part of the paper, I explore the relations between good-making features of (...)
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  33. Musical Scaffolding and the Pleasure of Sad Music: Comment on “An Integrative Review of the Enjoyment of Sadness Associated with Music".Joel Krueger - forthcoming - Physics of Life Reviews.
    Why is listening to sad music pleasurable? Eerola et al. convincingly argue that we should adopt an integrative framework — encompassing biological, psycho-social, and cultural levels of explanation — to answer this question. I agree. The authors have done a great service in providing the outline of such an integrative account. But in their otherwise rich discussion of the psycho-social level of engagements with sad music, they say little about the phenomenology of such experiences — including features that (...)
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  34. Melting Musics, Fusing Sounds. Stumpf, Hornbostel and Comparative Musicology in Berlin.R. Martinelli - 2014 - In R. Bod, J. Maat & T. Weststeijn (eds.), The Making of the Humanities. Vol. III: The Modern Humanities. Amsterdam University Press. pp. 391-401.
    The ancient Greeks already used to give ethnic names to their different scales, and observations on differences in music of the various nations always raised the interest of musicians and philosophers. Yet, it was only in the late nineteenth century that “comparative musicology” became an institutional science. An important role in this process was played by Carl Stumpf, a former pupil of Brentano’s who pioneered these researches in Berlin. Stumpf founded the Phonogrammarchiv to collect recordings of folk and extra-European (...)
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  35. Music and the Evolution of Embodied Cognition.Stephen Asma - forthcoming - In M. Clasen J. Carroll (ed.), Evolutionary Perspectives on Imaginative Culture. pp. pp 163-181.
    Music is a universal human activity. Its evolution and its value as a cognitive resource are starting to come into focus. This chapter endeavors to give readers a clearer sense of the adaptive aspects of music, as well as the underlying cognitive and neural structures. Special attention is given to the important emotional dimensions of music, and an evolutionary argument is made for thinking of music as a prelinguistic embodied form of cognition—a form that is still (...)
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  36. 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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  37. The Sound of Music: Externalist Style.Luke Kersten & Robert A. Wilson - 2016 - American Philosophical Quarterly 53 (2):139-154.
    Philosophical exploration of individualism and externalism in the cognitive sciences most recently has been focused on general evaluations of these two views (Adams & Aizawa 2008, Rupert 2008, Wilson 2004, Clark 2008). Here we return to broaden an earlier phase of the debate between individualists and externalists about cognition, one that considered in detail particular theories, such as those in developmental psychology (Patterson 1991) and the computational theory of vision (Burge 1986, Segal 1989). Music cognition is an area in (...)
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  38. Empathy, Enaction, and Shared Musical Experience.Joel Krueger - 2013 - In Tom Cochrane, Bernardino Fantini & Klaus Scherer (eds.), The Emotional Power of Music: Multidisciplinary Perspectives on Musical Expression, Arousal and Social Control. Oxford University Press. pp. 177-196.
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  39. Nigerian Music and the Black Diaspora in the USA : African Identity, Black Power, and the Free Jazz of the 1960s.Martin A. M. Gansinger & Ayman Kole - 2016 - In Martin A. M. Gansinger & Ayman Kole (eds.), From Tribal to Digital - Effects of Tradition and Modernity on Nigerian Media and Culture. Scholars Press. pp. 15-44.
    This article is the attempt of an historically oriented analysis focused on the role of Nigerian music as a cultural hub for the export of African cultural influences into the Black diaspora in the United States and its anticipation by the Free Jazz/Avantgarde-scene as well as the import of key-values related to the Black Power-movement to the African continent. The aim is to demonstrate the leading role and international impact of Nigeria's cultural industry among sub-saharan African nation states and (...)
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  40. A Simulation Theory of Musical Expressivity.Tom Cochrane - 2010 - Australasian Journal of Philosophy 88 (2):191-207.
    This paper examines the causal basis of our ability to attribute emotions to music, developing and synthesizing the existing arousal, resemblance and persona theories of musical expressivity to do so. The principal claim is that music hijacks the simulation mechanism of the brain, a mechanism which has evolved to detect one's own and other people's emotions.
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  41.  25
    Popular Music Studies and the Problems of Sound, Society and Method.Eliot Bates - 2013 - [email protected] 3 (2):15-32.
    Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies has developed canonic scholarship, and the (...)
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  42. Biological Roots of Musical Epistemology: Functional Cycles, Umwelt, and Enactive Listening.Mark Reybrouck - 2001 - Semiotica 2001 (134):599-633.
    This article argues for an epistemology of music, stating that dealing with music can be considered as a process of knowledge acquisition. What really matters is not the representation of an ontological musical reality, but the generation of music knowledge as a tool for adaptation to the sonic world. Three major positions are brought together: the epistemological claims of Jean Piaget, the biological methodology of Jakob von Uexküll, and the constructivistic conceptions of Ernst von Glasersfeld, each ingstress (...)
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  43.  88
    Musical Thought And Compositionality.Christopher Bartel - 2006 - Postgraduate Journal of Aesthetics 3 (1).
    Many philosophers and music theorists have claimed that music is a language, though whether this is meant metaphorically or literally is often unclear. If the claim is meant literally, then it faces serious difficulty—many find it compelling to think that music cannot be a language because it lacks any semantic value. On the other hand, if it is meant metaphorically, then it is not clear what is gained by the metaphor—it is not clear what the metaphor is (...)
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  44.  46
    Editorial: Music and the Functions of the Brain: Arousal, Emotions, and Pleasure.Mark Reybrouck, Tuomas Eerola & Piotr Podlipniak - 2018 - Frontiers in Psychology 9.
    Music impinges upon the body and the brain and has inductive power, relying on both innate dispositions and acquired mechanisms for coping with the sounds. This process is partly autonomous and partly deliberate, but multiple interrelations between several levels of processing can be shown. There is, further, a tradition in neuroscience that divides the organization of the brain into lower and higher functions. The latter have received a lot of attention in music and brain studies during the last (...)
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  45. Musical Profundity: Wittgenstein's Paradigm Shift.Eran Guter - 2019 - Apeiron. Estudios de Filosofia 10:41-58.
    The current debate concerning musical profundity was instigated, and set up by Peter Kivy in his book Music Alone (1990) as part of his comprehensive defense of enhanced formalism, a position he championed vigorously throughout his entire career. Kivy’s view of music led him to maintain utter skepticism regarding musical profundity. The scholarly debate that ensued centers on the question whether or not (at least some) music can be profound. In this study I would like to take (...)
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  46.  39
    Music and Memory in Vernon Lee (Violet Paget) (1856-1935).Marina Trakas - 2019 - Encyclopedia of Concise Concepts by Women Philosophers.
    The relationship between music and memory is mainly developed in Music and Its Lovers (1932), a book where Lee presents interesting psychological and philosophical insights from the analysis of the responses made by 150 people to a questionnaire about the “expressive and emotional powers of music”. In this short encyclopedic entry, I present Lee's analysis of the many different ways in which musical experience depends on memory.
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  47.  92
    Is Musical Emotion An Illusion?Muk Yan Wong - 2010 - Postgraduate Journal of Aesthetics 7 (1):24-36.
    The power of music to arouse garden-variety emotions has attracted attention from musicians, psychologists, and philosophers over decades. Despite its widespread acknowledgement, there is no agreement on how pure music with no propositional content can induce such a wide range of emotions. Jenefer Robinson coined this 1 problemthepuzzleofmusicalemotion. Inthisessay,Iwillfirstdiscusswhymusical emotion is a puzzle. Then, Jesse Prinz’s perceptual theory of emotion and his solution 2 to the puzzle will be discussed. Prinz regards an emotion as an embodied appraisal, and (...)
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  48. Time, Music, and Gardens.John Powell - 2012 - Philosophy and Music Conference.
    This conference paper contests the validity of some traditional concepts of gardens. It introduces the possibility of considering the passage of time in gardens as a musical, rhythmic phenomonen.
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  49. Music Therapy and Dementia: Rethinking the Debate Over Advance Directives.Steve Matthews - 2014 - Ethics Education 20:18-35.
    Ronald Dworkin argued that Advance Directives informed by a principle of autonomy ought to guide decisions in relation to the treatment of those in care for dementia. The principle of autonomy in play presupposes a form of competence that is tied to the individual person making the Directive. This paper challenges this individualist assumption. It does so by pointing out that the competence of a patient is inherently relational, and the key illustrative case to make this point is the case (...)
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  50.  86
    Dance, Music and Dramaturgy: Collaboration Plan and Dramaturgical Apparatus.João Paulo Lucas & César Lignelli - 2017 - Revista Brasileira de Estudos de Presença 7 (1):19-44.
    Dance, Music and Dramaturgy: collaboration plan and dramaturgical apparatus – The unfolding of the concept of dramaturgy and the problematics of contemporary choreography are, today, a vast and diverse field of research, bearing numerous disclosures that lead to their reciprocal implication. Apart from that, dance and music share significant complementary ties allowing for the consideration of a common compositional inquiry. Reflecting on the compositional processes of dance and music, this article cross-examines the collaboration between choreographers and composers, (...)
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