Results for 'Rock music'

762 found
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  1. Theory of rock music.Enrique Morata - 2013 - bubok.
    Theory of rock music with texts from St. Augustine, Cicero, Arnold Schonberg, Hugo Riemann, Robert Schumann.
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  2.  6
    Rock 'n' Recording: The Ontological Complexity of Rock Music.John Andrew Fisher - 1998 - In Philip Alperson (ed.), Musical Worlds: New Directions in the Philosophy of Music. Pennsylvania State University Press. pp. 109-123.
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  3. Country Music and the Problem of Authenticity.Evan Malone - 2023 - British Journal of Aesthetics 63 (1):75-90.
    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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  4. Joint attention to music.Tom Cochrane - 2009 - British Journal of Aesthetics 49 (1):59-73.
    This paper contrasts individual and collective listening to music, with particular regard to the expressive qualities of music. In the first half of the paper a general model of joint attention is introduced. According to this model, perceiving together modifies the intrinsic structure of the perceptual task, and encourages a convergence of responses to a greater or lesser degree. The model is then applied to music, looking first at the silent listening situation typical to the classical concert (...)
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  5. Two Concepts of Groove: Musical Nuances, Rhythm, and Genre.Evan Malone - 2022 - Journal of Aesthetics and Art Criticism 80 (3):345-354.
    Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the (...)
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  6. 'American Pie’ and the Self-critique of Rock ‘n’ Roll.Michael Baur - 2006 - In William Irwin & Jorge J. E. Gracia (eds.), Philosophy and the Interpretation of Pop Culture. Rowman & Littlefield Publishers. pp. 255-273.
    More than thirty-five years after its first release in 1971, Don McLean’s “American Pie” still resonates deeply with music listeners and consumers of popular culture. In a 2001 public poll sponsored by the National Endowment for the Arts and the Recording Industry Association of America, McLean’s eight-and-a-half-minute masterpiece was ranked number 5 among the 365 “most memorable” songs of the twentieth century. In 2002, the song was voted into the Grammy Hall of Fame. In 1997, Garth brooks performed “American (...)
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  7. Kiss the Ship of Theseus Goodbye!Shane J. Ralston - 2020 - In Courtland Lewis (ed.), KISS and Philosophy: Wiser than Hell. Popular Culture and Philosophy. pp. 105-111.
    The American rock band KISS is notorious. Its notoriety derives not only from the band’s otherworldly costumes (except for of course during the unmasked period), the fact that they were inducted into the Rock and Roll Hall of Fame, their numerous hit records or the amazing stage theatrics and pyrotechnics of their live shows. It’s also related to the band’s constantly changing makeup (and I don’t mean the kind on their faces!). Of the four members, only Paul Stanley (...)
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  8. Dylan at 80.C. Sandis & G. Browning (eds.) - forthcoming - Imprint Academic.
    2021 marks Dylan's 80th birthday and his 60th year in the music world. It invites us to look back on his career and the multitudes that it contains. Is he a song and dance man? A political hero? A protest singer? A self-portrait artist who has yet to paint his masterpiece? Is he Shakespeare in the alley? The greatest living exponent of American music? An ironsmith? Internet radio DJ? Poet (who knows it)? Is he a spiritual and religious (...)
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  9. (1 other version)Behind Zarathustra's Eyes: The Bad, Sad Man Meets Nietzsche's Prophet.M. Blake Wilson - 2016 - In Rocco J. Gennaro & Casey Harison (eds.), The Who and Philosophy. Lexington Books.
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  10. Between the crowd and the band: performance experience, creative practice, and wellbeing for professional touring musicians.Andrew Geeves, Samuel Jones, Jane Davidson & John Sutton - 2020 - International Journal of Wellbeing 10 (5):5-26.
    In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between music and (...)
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  11. Appreciating covers.Cristyn Magnus, P. D. Magnus, Christy Mag Uidhir & Ron Mcclamrock - 2022 - Nordic Journal of Aesthetics 31 (63).
    A recording or performance of a song is a cover if there is an earlier, canonical recording of the song. It can seem intuitive to think that properly appreciating a cover requires considering it in relation to the original, or at least that doing so will yield a deeper appreciation. This intuition is supported by some philosophical accounts of covers. And it is complicated by the possibility of hearing in, whereby one hears elements of the original version in the cover. (...)
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  12. The Metaphysics of Mash‐Ups.Christopher Bartel - 2015 - Journal of Aesthetics and Art Criticism 73 (3):297-308.
    Accounts of the ontology of musical works seek to uncover what metaphysically speaking a musical work is and how we should identify instances of musical works. In this article, I examine the curious case of the mash-up and seek to address two questions: are mash-ups musical works in their own right and what is the relationship between the mash-up and its source materials? As mash-ups are part of the broader tradition of rock, I situate this discussion within an ontology (...)
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  13.  99
    In the Face of Death.James Cartlidge - 2023 - In John MacKinnon (ed.), Warren Zevon and Philosophy: Beyond Reptile Wisdom. Peru, IL: Carus Books. pp. 187-198.
    Warren Zevon’s musical career, though brilliant throughout, is particularly notable for its ending: diagnosed with a terminal illness, Zevon refused a potentially debilitating medical treatment to put his remaining energy into recording another album. The resulting record –2003’s 'The Wind' – was in many ways the perfect farewell: songs of dirty, dark, uncompromising, country-tinged rock, blistering guitar solos, all mixed with intelligent, black-as-coal gallows humour. But it was also a moving farewell to his fans, a heartfelt, personal reflection on (...)
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  14. Robinson Jeffers, 'The Double Axe'.James Lesher - manuscript
    Robinson Jeffers’ dark view of humankind is thought to owe much to Friedrich Nietzsche while his admiration for the beauty of nature has been compared to sentiments expressed by Lucretius in de rerum natura. In many respects, however, the philosopher who stands closest to Jeffers in both thought and personality is the ancient Greek thinker Heraclitus of Ephesus. Jeffers’ extended poem ‘The Double Axe’ makes no fewer than five clear references to Heraclitean ideas: (1) ‘Heraclitus’ Sibyl whose voice reached over (...)
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  15.  85
    Depiction of Violence in the Early Films of Sogo Ishii.Doga Col - 2024 - In Jaime Lopez Diez (ed.), Resonances of Japanese Cinema. Madrid: Editorial Fragua. pp. 6-25.
    Sogo/Gakuryu Ishii is one of the pioneers of the punk/cyberpunk movement in Japanese cinema. Though his style changed throughout his career, his early films have been a great influence to filmmakers around the world. His unique filmic style presents questions, observations and interpretations regarding the role of violence as normalized in the daily lives of heavily marginalized punk youth portrayed in an amplified and stylized cyberpunk Japan. What is so captivating about Ishii's style and motivation is that he was not (...)
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  16. (1 other version)Echoes of Past and Present.Matthew Crippen & Matthew Dixon - 2019 - In Randall E. Auxier & Megan A. Volpert (eds.), Tom Petty and Philosophy: We Need to Know. Chicago, Illinois: Open Court Publishing. pp. 16-25.
    The album Echo was produced in a depressed, drug-riddled phase when Tom Petty’s first marriage was ending and his physical condition so degraded that he took to using a cane. Petty filmed no videos, avoided playing the album’s songs on the follow-up tour and reported little memory of its making. The thoughtfulness and self-reflection that traumatic circumstances spur distinguish the album. So too does the tendency to look backwards in times of crisis, whether in hopes of finding solidity in the (...)
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  17. Juventud y hardcore punk: El orden del capital frente a la alteridad destructiva.Ignacio Moreno Fluxà - 2022 - Revista Pensamiento Político (9):59-69.
    El presente artículo presenta una breve discusión en torno al vínculo entre juventud y capitalismo a partir del análisis de un caso particular: la escena hardcore punk estadounidense. Las peculiaridades de esta escena musical-su rebeldía rabiosa, su ímpetu (auto)destructivo, su desborde permanente-así como su contrapunto con los movimientos que la precedieron, nos permiten vislumbrar los mecanismos mediante los cuales el capitalismo ejerce su poder coercitivo, en lo que, con Althusser, denominaríamos los aparatos ideológicos de Estado y el aparato represivo de (...)
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  18. Linguistic Turn.Mota Victor - manuscript
    semiology of social and global transformations on public relations and, by consequence, of human intimacy.
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  19. Two Perspectives on Animal Morality.Adam M. Willows & Marcus Baynes-Rock - 2018 - Zygon 53 (4):953-970.
    Are animals moral agents? In this article, a theologian and an anthropologist unite to bring the resources of each field to bear on this question. Alas, not all interdisciplinary conversations end harmoniously, and after much discussion the two authors find themselves in substantial disagreement over the answer. The article is therefore presented in two halves, one for each side of the argument. As well as presenting two different positions, our hope is that this article clarifies the different understandings of morality (...)
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  20. 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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  21. 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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  22. Musical Experiments in an Ethics of Listening.Iain Campbell - 2023 - In Valery Vino (ed.), Aesthetic Literacy vol II: out of mind. Melbourne: mongrel matter. pp. 116-120.
    In what follows I offer some reflections on an ethics of listening, or perhaps more generally a philosophy of listening, that can be discerned in different forms in the experimental music that, since the 1950s, has challenged and radicalised how music is understood. I situate these reflections around three of my own concert experiences as an audience member.
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  23. Peter Kivy, Sacred Music, and Affective Response: Knowing God Through Music.Julian Perlmutter - manuscript
    Knowing someone personally centrally involves engaging in various patterns of affective response. Inasmuch as humans can know God personally, this basic insight about the relationship between personal knowledge and affective response also applies to God: knowing God involves responding to him, and to the world, in various affectively toned ways. In light of this insight, I explore how one particular practice might contribute to human knowledge of God: namely, engaging with sacred music – in particular, sacred music in (...)
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  24. Music as Affective Scaffolding.Joel Krueger - forthcoming - In Clarke David, Herbert Ruth & Clarke Eric (eds.), Music and Consciousness II. 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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  25. Rock as a Three-Value Tradition.Christopher Bartel - 2017 - Journal of Aesthetics and Art Criticism 75 (2):143-154.
    Gracyk, Kania, and Davies all agree that the rock tradition is distinctive for the central place that it gives to the appreciation of recorded tracks. But we should not be led by those arguments to conclude that the central position of the recorded track makes such appreciation the exclusive interest in rock. I argue that both songwriting and live performance are also central to the rock tradition by showing that the practice of recording tracks admits of a (...)
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  26. Musical minds.Brian Josephson & T. L. Carpenter - 1991 - New Scientist (1762, April 20).
    Comments on the idea that music might be a process of communication between composer and listener.
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  27. Music and Vague Existence.David Friedell - 2017 - Res Philosophica 94 (4):437-449.
    I explain a tension between musical creationism (the view that musical works are abstract artifacts) 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 (...)
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  28.  80
    How Music Combines with Words?Krzysztof Guczalski - 2008 - Interdisciplinary Studies in Musicology 7:87-95.
    Since language provides the most typical paradigm of meaning, when we ask what meanings music may communicate, it will certainly be illuminative to compare these meanings with those conveyed by language. In particular we would want to ask an even more specific question: how, in general, the respective meanings of music and words are related in a vocal composition.
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  29. 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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  30. Musical works are mind-independent artifacts.Elzė Sigutė Mikalonytė - 2023 - Synthese 203 (1):1-28.
    Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could (...)
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  31. Myth, Music, and Science: Teaching the Philosophy of Science through the Use of Non-Scientific Examples.Edward Slowik - 2003 - Science & Education 12 (3):289-302.
    This essay explores the benefits of utilizing non-scientific examples and analogies in teaching philosophy of science courses. These examples can help resolve two basic difficulties faced by most instructors, especially when teaching lower-level courses: first, they can prompt students to take an active interest in the class material, since the examples will involve aspects of the culture well-known, or at least more interesting, to the students; and second, these familiar, less-threatening examples will lessen the students' collective anxieties and open them (...)
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  32. 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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  33. Musical Works as Structural Universals.A. R. J. Fisher - 2021 - Erkenntnis 88 (3):1245-67.
    In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory (hereafter Musical Aristotelianism) 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 (...)
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  34. 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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  35. 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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  36. (1 other version)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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  37. 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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  38.  46
    Music for the Masses: Politics, Economics and Culture through Musical Experience.Omar Cerrillo - manuscript
    In the era of digitalization, people have produced, distributed and listened to music in almost every place and every moment. It has become the most ubiquitous of artworks, having an impact in all the social fields (Bourdieu dixit). As Jacques Attali expressed, “All music, all organization of sounds is therefore an instrument to create or consolidate a community, a totality; it is a link between power and its subjects and, therefore, an attribute of power, whatever it may be”. (...)
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  39. 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 9:326516.
    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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  40. Rock and Roll Grist for the John Stuart Mill.John Edward Huss - manuscript
    Rolling Stones guitarist Keith Richards has argued that rock and roll happens from the neck down. In this contribution to The Rolling Stones and Philosophy, edited by Luke Dick and George Reisch, I draw on neuroscience to argue that, in the parlance of John Stuart Mill, rock and roll is both a higher and a lower pleasure.
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  41. 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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  42. 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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  43. Musical Contagion.Federico Lauria - 2023 - Encyclopedia.
    Music can contaminate us. Sometimes, listeners perceive music as expressing some emotion (say, sadness), and this elicits the same emotion in them (they feel sad). What is musical contagion? This entry presents the main theories of musical contagion that crystallize around the challenge to the leading theory of emotions as experiences of values. How and why does music contaminate us? Does musical contagion elicit garden variety emotions, such as sadness, joy, and anxiety? Does music contaminate us (...)
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  44. Emotion Descriptions and Musical Expressiveness.Michelle Liu - forthcoming - Mind and Language.
    Emotion terms such as “sad”, “happy” and “joyful” apply to a wide range of entities. We use them to refer to mental states of sentient beings, and also to describe features of non-mental things such as comportment, nature, events, artworks and so on. Drawing on the literature on polysemy, this paper provides an in-depth analysis of emotion descriptions. It argues that emotion terms are polysemous and distinguishes seven related senses. In addition, the paper applies the analysis to shed light on (...)
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  45. 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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  46. Gandharva, Music and Globalization.Man Bahadur Shahu - 2013 - Journal of Academia 2 (2):73-79.
    This article explore music and globalisation of Gandharva of Nepal.
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  47. The Problem of the Rock and the Grammar of Consciousness.Lajos Brons - 2017 - Disputatio 9 (44):5-12.
    The “Problem of the Rock” (PoR) is a famous objection to Higher-Order (HO) theories of consciousness. According to PoR, the HO theorists’ claim that a mental state is conscious iff there is a higher-order mental state about it implies that a rock is also conscious iff there is a higher-order mental state about it. In this paper I show that this argument confuses two grammatically distinct attributions of consciousness, and that if the consequent equivocation fallacy is avoided, PoR (...)
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  48. 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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  49. On Brighton Rock.Subhasis Chattopadhyay - manuscript
    This reflection on the Petrine Ministry is being made freely available to students during this ongoing pandemic of COVID 19. This very brief essay seeks to understand the meaning of the title of the eponymous novel by Graham Greene.
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  50. 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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