Results for 'classical music'

1000+ found
Order:
See also
Bibliography: Classical Music in Aesthetics
  1. Legg-Hutter Universal Intelligence Implies Classical Music is Better Than Pop Music for Intellectual Training.Samuel Alexander - 2019 - The Reasoner 13 (11):71-72.
    In their thought-provoking paper, Legg and Hutter consider a certain abstrac- tion of an intelligent agent, and define a universal intelligence measure, which assigns every such agent a numerical intelligence rating. We will briefly summarize Legg and Hutter’s paper, and then give a tongue-in-cheek argument that if one’s goal is to become more intelligent by cultivating music appreciation, then it is bet- ter to use classical music (such as Bach, Mozart, and Beethoven) than to use more recent (...)
    Download  
     
    Export citation  
     
    Bookmark  
  2.  34
    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 (...)
    Download  
     
    Export citation  
     
    Bookmark  
  3. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   6 citations  
  4.  95
    REVIEW OF MUSIC AND ITS THERAPEUTICS W.S.R. AYURVEDIC CLASSICS (BRIHATRAYEE.Dr Devanand Upadhyay - 2016 - Indian Journal of Agriculture and Allied Sciences 2 (1):114-118.
    Ayurveda is the science of living being. With the aim of health and procurement of disease it almost covers all facets of life. It includes health of an individual at physical, mental, spiritual, social level. Ayurvedic classics includes brihatrayee samhita like Charak, Sushruta and Ashtanga Hridaya. A review based study of music (geet, sangeet) was done in these classics to explore whether these classics includes any form of music as therapy or not. Based on review of these classics (...)
    Download  
     
    Export citation  
     
    Bookmark  
  5.  35
    Avant-Gardes, Afrofuturism, and Philosophical Readings of Rhythm.Iain Campbell - 2019 - In Reynaldo Anderson & Clinton R. Fluker (eds.), The Black Speculative Arts Movement: Black Futurity, Art+Design. Lanham, MD: Lexington Books. pp. 27-49.
    Here I will put forward a claim about rhythm – that rhythm is relation. To develop this I will explore the entanglement of and antagonism between two notions of the musical avant-garde and its theorization. The first of these is derived from the European classical tradition, the second concerns Afrodiasporic musical practices. This essay comes in two parts. The first will consider some music-theoretical and philosophical ideas about rhythm in the post-classical avant-garde. Here I will explore how (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  6. Essay Review of Eva Brann, The Music of the Republic. [REVIEW]Mitchell Miller - 2007 - International Journal of the Classical Tradition 13 (4):628-633.
    The essays in this collection, though ranging in their keys from the teacherly to the scholarly, are united by their search for the deepest questions Plato gives us. The title essay on the Republic is a paradigm case, exploring with a mix of speculative daring and Socratic pleasure in aporia the ring structure of the dialogue, the emergent perspective of a "knowing soul," dianoetic eikasia, and the implicit presence of the One and the Dyad in the metaphysical figures of the (...)
    Download  
     
    Export citation  
     
    Bookmark  
  7.  54
    Art Forms Emerging: An Approach to Evaluative Diversity in Art.Mohan Matthen - 2020 - Journal of Aesthetics and Art Criticism 78 (3):303-318.
    An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: (...)
    Download  
     
    Export citation  
     
    Bookmark  
  8. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  9. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  10. Primitive Ontology and the Classical World.Valia Allori - 2016 - In R. Kastner, J. Jeknic-Dugic & G. Jaroszkiewicz (eds.), Quantum Structural Studies: Classical Emergence from the Quantum Level. World Scientific. pp. 175-199.
    In this paper I present the common structure of quantum theories with a primitive ontology, and discuss in what sense the classical world emerges from quantum theories as understood in this framework. In addition, I argue that the primitive ontology approach is better at answering this question than the rival wave function ontology approach or any other approach in which the classical world is nonreductively ‘emergent:’ even if the classical limit within this framework needs to be fully (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  11. Using the Persona to Express Complex Emotions in Music.Tom Cochrane - 2010 - Music Analysis 29 (1-3):264-275.
    This article defends a persona theory of musical expressivity. After briefly summarising the major arguments for this view, it applies persona theory to the issue of whether music can express complex emotions. The expression of jealousy is then discussed by analysis of two examples from Piazzolla and Janacek.
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  12. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  13.  70
    Judgement Aggregation in Non-Classical Logics.Daniele Porello - 2017 - Journal of Applied Non-Classical Logics 27 (1-2):106-139.
    This work contributes to the theory of judgement aggregation by discussing a number of significant non-classical logics. After adapting the standard framework of judgement aggregation to cope with non-classical logics, we discuss in particular results for the case of Intuitionistic Logic, the Lambek calculus, Linear Logic and Relevant Logics. The motivation for studying judgement aggregation in non-classical logics is that they offer a number of modelling choices to represent agents’ reasoning in aggregation problems. By studying judgement aggregation (...)
    Download  
     
    Export citation  
     
    Bookmark  
  14. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   24 citations  
  15. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  16.  26
    Reclaiming Democratic Classical Liberalism.David Ellerman - 2020 - In Reclaiming Liberalism. New York, NY, USA: pp. 1-39.
    Classical liberalism is skeptical about governmental organizations "doing good" for people. Instead governments should create the conditions so that people individually (Adam Smith) and in associations (Tocqueville) are empowered to do good for themselves. The market implications of classical liberalism are well-known, but the implications for organizations are controversial. We will take James Buchanan as our guide (with assists from Mill and Dewey). Unpacking the implications of classical liberalism for the "science of associations" (Tocqueville) requires a tour (...)
    Download  
     
    Export citation  
     
    Bookmark  
  17.  75
    Measure for Measure: Wittgenstein's Critique of the Augustinian Picture of Music.Eran Guter - 2019 - In Hanne Appelqvist (ed.), Wittgenstein and the Limits of Language. London: Routledge. pp. 245-269.
    This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion of pure memory-time (...)
    Download  
     
    Export citation  
     
    Bookmark  
  18.  18
    Classical Chinese for Everyone: A Guide for Absolute Beginners, by Bryan W. Van Norden. [REVIEW]Mog Stapleton - 2020 - Teaching Philosophy 43 (2):218-221.
    Review of Van Norden's 'Classical Chinese for Everyone' from the perspective of a learner and non-specialist teacher of Chinese Philosophy.
    Download  
     
    Export citation  
     
    Bookmark  
  19. Hegel's Architecture.David Kolb - 2007 - In Stephen Houlgate (ed.), Hegel and the Arts. Northwestern University Press.
    "The first of the particular arts . . . is architecture." (A 13.116/1.83)1 For Hegel, architecture stands at several beginnings. It is the art closest to raw nature. It is the beginning art in a progressive spiritualization that will culminate in poetry and music. The drive for art is spirit's drive to become fully itself by encountering itself; art makes spirit's essential reality present as an outer sensible work of its own powers.2 (A 13.453/1.351) If Hegel's narrative of the (...)
    Download  
     
    Export citation  
     
    Bookmark  
  20.  24
    James M. Buchanan and Democratic Classical Liberalism.David Ellerman - 2019 - In Research in the History of Economic Thought and Methodology 37B. Bingley, UK: pp. 149-163.
    Nancy MacLean’s book, Democracy in Chains, raised questions about James M. Buchanan’s commitment to democracy. This paper investigates the relationship of classical liberalism in general and of Buchanan in particular to democratic theory. Contrary to the simplistic classical liberal juxtaposition of “coercion vs. consent,” there have been from Antiquity onwards voluntary contractarian defenses of non-democratic government and even slavery—all little noticed by classical liberal scholars who prefer to think of democracy as just “government by the consent of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  21. To Think or Not To Think: The Apparent Paradox of Expert Skill in Music Performance.Andrew Geeves, Doris J. F. McIlwain, John Sutton & Wayne Christensen - 2013 - Educational Philosophy and Theory (6):1-18.
    Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. (...)
    Download  
     
    Export citation  
     
    Bookmark   7 citations  
  22.  46
    Bachelard and Deleuze on and with Experimental Science, Experimental Philosophy, and Experimental Music.Iain Campbell - 2019 - In Guillaume Collett (ed.), Deleuze, Guattari, and the Problem of Transdisciplinarity. London: Bloomsbury. pp. 73-104.
    In this chapter I look at some questions around the notion of experimentation in philosophy, science, and the arts, through the thought of Gaston Bachelard and Gilles Deleuze. My argument is articulated around three areas of enquiry – Bachelard’s work on the experimental sciences, Deleuze’s notion of philosophy as an experimental practice, and recent musicological debate around the practical and political stakes of the term ‘experimental music’. By drawing together these three senses of experimentation, I test the possibilities of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  23. Non-Classical Metatheory for Non-Classical Logics.Andrew Bacon - 2013 - Journal of Philosophical Logic 42 (2):335-355.
    A number of authors have objected to the application of non-classical logic to problems in philosophy on the basis that these non-classical logics are usually characterised by a classical metatheory. In many cases the problem amounts to more than just a discrepancy; the very phenomena responsible for non-classicality occur in the field of semantics as much as they do elsewhere. The phenomena of higher order vagueness and the revenge liar are just two such examples. The aim of (...)
    Download  
     
    Export citation  
     
    Bookmark   10 citations  
  24. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  25. Feminist Aesthetics, Popular Music, and the Politics of the 'Mainstream'.Robin James - 2011 - In L. Ryan Musgrave (ed.), Feminist Aesthetics and Philosophy of Art. Springer.
    While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its own limitations (...)
    Download  
     
    Export citation  
     
    Bookmark  
  26. Classical Foundationalism and Bergmann’s Dilemma for Internalism.Ali Hasan - 2011 - Journal of Philosophical Research 36:391-410.
    In Justification without Awareness (2006), Michael Bergmann presents a dilemma for internalism from which he claims there is “no escape”: The awareness allegedly required for justification is either strong awareness, which involves conceiving of some justification-contributor as relevant to the truth of a belief, or weak awareness, which does not. Bergmann argues that the former leads to an infinite regress of justifiers, while the latter conflicts with the “clearest and most compelling” motivation for endorsing internalism, namely, that for a belief (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  27. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark  
  28. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   8 citations  
  29.  43
    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 (...)
    Download  
     
    Export citation  
     
    Bookmark  
  30.  67
    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 (...)
    Download  
     
    Export citation  
     
    Bookmark   14 citations  
  31. On the Ancient Idea That Music Shapes Character.James Harold - 2016 - Dao: A Journal of Comparative Philosophy 15 (3):341-354.
    Ancient Chinese and Greek thinkers alike were preoccupied with the moral value of music; they distinguished between good and bad music by looking at the music’s effect on moral character. The idea can be understood in terms of two closely related questions. Does music have the power to affect the ethical character of either listener or performer? If it does, is it better as music for doing so? I argue that an affirmative answers to both (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  32. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   9 citations  
  33. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  34. Wittgenstein, Modern Music, and the Myth of Progress.Eran Guter - 2017 - In Ilkka Niiniluoto & Thomas Wallgren (eds.), On the Human Condition – Essays in Honour of Georg Henrik von Wright’s Centennial Anniversary, Acta Philosophica Fennica vol. 93. Helsinki: Societas Philosophica Fennica. pp. 181-199.
    Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  35.  17
    Radiohead and Some Questions About Music.Edward Slowik - 2009 - In George Reisch & B. W. Forbes (eds.), Radiohead and Philosophy. Chicago, IL: Open Court: pp. 41-52.
    This essay examines the music of Radiohead as a means of introducing various elementary concepts and theories in the philosophy of music.
    Download  
     
    Export citation  
     
    Bookmark  
  36. Maxwell's Paradox: The Metaphysics of Classical Electrodynamics and its Time Reversal Invariance.Valia Allori - 2015 - Analytica: an electronic, open-access journal for philosophy of science 1:1-19.
    In this paper, I argue that the recent discussion on the time - reversal invariance of classical electrodynamics (see (Albert 2000: ch.1), (Arntzenius 2004), (Earman 2002), (Malament 2004),(Horwich 1987: ch.3)) can be best understood assuming that the disagreement among the various authors is actually a disagreement about the metaphysics of classical electrodynamics. If so, the controversy will not be resolved until we have established which alternative is the most natural. It turns out that we have a paradox, namely (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  37.  60
    “A Small, Shabby Crystal, yet a Crystal”: A Life of Music in Wittgenstein’s Denkbewegungen.Eran Guter - 2019 - In B. Sieradzka-Baziur, I. Somavilla & C. Hamphries (eds.), Wittgenstein's Denkbewegungen. Diaries 1930-1932/1936-1937: Interdisciplinary Perspectives. Innsbruck, Austria: StudienVerlag. pp. 83-112.
    Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  38. Does Classical Liberalism Imply Democracy?David Ellerman - 2015 - Ethics and Global Politics 8 (1).
    There is a fault line running through classical liberalism as to whether or not democratic self-governance is a necessary part of a liberal social order. The democratic and non-democratic strains of classical liberalism are both present today—particularly in America. Many contemporary libertarians and neo-Austrian economists represent the non-democratic strain in their promotion of non-democratic sovereign city-states (startup cities or charter cities). We will take the late James M. Buchanan as a representative of the democratic strain of classical (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  39.  74
    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, (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  40. From Parmenidean Identity to Beyond Classical Idealism and Epistemic Constructivism.Dimitris Kilakos - 2016 - Epistemology and Philosophy of Science 48 (2):75-86.
    Rockmore’s paper offers a nice discussion on how classical German idealism provides a plausible account of the Parmenidean insight that thought and being are identical and suggests that idealist epistemic constructivism is arguably the most promising approach to cognition. In this short commentary, I will explore the implications of adopting other interpretations of Parmenidean identity thesis, which arguably lead to different conclusions than the ones drawn by Rockmore. En route to disavow the distinction between ontology and epistemology, I argue (...)
    Download  
     
    Export citation  
     
    Bookmark  
  41. The Relation Between Classical and Quantum Electrodynamics.Mario Bacelar Valente - 2011 - Theoria: Revista de Teoría, Historia y Fundamentos de la Ciencia 26 (1):51-68.
    Quantum electrodynamics presents intrinsic limitations in the description of physical processes that make it impossible to recover from it the type of description we have in classical electrodynamics. Hence one cannot consider classical electrodynamics as reducing to quantum electrodynamics and being recovered from it by some sort of limiting procedure. Quantum electrodynamics has to be seen not as a more fundamental theory, but as an upgrade of classical electrodynamics, which permits an extension of classical theory to (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  42.  84
    La critica di Adorno alla popular music.Luca Corchia - 2017 - The Lab's Quarterly 18 (4):31-56.
    For a long time, popular music has been presented as a field of loisir, devoid of artistic value, social expression of barbaric subcultures and product of a cultural industry aimed at mass distraction. In this perspective, the criticism of Theodor W. Adorno is crucial and, even today, his theses – on the aesthetic inferiority of popular music compared to the “cultivated” music and on the deplorable socio-cultural effects of its diffusion – are still a shared judgment. Even (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  43. 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, (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  44.  39
    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, (...)
    Download  
     
    Export citation  
     
    Bookmark  
  45.  53
    Ani racjonalizacja światopoglądu, ani rezygnacja z mądrości. Czy metafilozofia Kazimierza Twardowskiego może być wyznacznikiem rzetelnie uprawianej filozofii klasycznej? / / Can Kazimierz Twardowski's metaphilosophy be the determinant of reliable practiced classical philosophy? 2018.Marek A. Pepliński - 2018 - Filo-Sofija 18 (40/1):41-78.
    The article aims to determine whether it is possible to build the reliably practiced classical philosophy, understood as a metaphysical research, directed towards the nature of objective reality. The purpose of this kind of philosophizing is knowledge and truth. Moreover, the practice of such philosophizing and its results should meet some of the characteristics of science. The paper establishes a set of conditions that have been imposed on the science of metaphysics by Kazimierz Twardowski. Among the conditions of such (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  46. 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.
    Download  
     
    Export citation  
     
    Bookmark  
  47. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  48. Why Didn’T Kant Think Highly of Music?Emine Hande Tuna - 2018 - In Violetta Waibel & Margit Ruffing (eds.), Natur und Freiheit: Akten des XII. Internationalen Kant-Kongresses. Berlin, Germany: De Gruyter. pp. 3141-3148.
    In this paper, in answering the question why Kant didn’t think very highly of music, I argue that for Kant (i) music unlike other art forms, lends itself more easily to combination judgments involving judgments of sense, which increases the propensity to make aesthetic mistakes and is ill-suited as an activity for improving one’s taste; (ii) music expresses aesthetic ideas and presents rational ideas only by taking advantage of existing associations while other art forms do so by (...)
    Download  
     
    Export citation  
     
    Bookmark  
  49. Bohr’s Relational Holism and the Classical-Quantum Interaction.Mauro Dorato - manuscript
    In this paper I present and critically discuss the main strategies that Bohr used and could have used to fend off the charge that his interpretation does not provide a clear-cut distinction between the classical and the quantum domain. In particular, in the first part of the paper I reassess the main arguments used by Bohr to advocate the indispensability of a classical framework to refer to quantum phenomena. In this respect, by using a distinction coming from an (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  50. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark  
1 — 50 / 1000