Results for 'musical nuance'

975 found
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  1. 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 music’ (...)
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  2. Musical Musical Nuance.Tiger C. Roholt - 2010 - Journal of Aesthetics and Art Criticism 68 (1):1-10.
  3.  24
    Notes on nuance: rethinking a philosophy of modern music.David I. Cunningham - 2004 - Radical Philosophy 125:17-28.
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  4.  27
    In Praise of Ambiguity: Musical Subtlety and Merleau-Ponty.Tiger C. Roholt - 2013 - Contemporary Aesthetics 11.
    When a jazz, rock, or hip-hop drummer strikes certain notes in each measure slightly late, instead of hearing the degree to which those notes are late, we typically hear the effects of those variations; namely, a groove, the "feel" of a rhythm. Slight variations of pitch function similarly. In this essay, I argue that certain analytic theorists go astray due to their preoccupation with the variations themselves. By invoking Maurice Merleau- Ponty's insights into subtle visual perceptions, and his notion of (...)
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  5.  49
    The Music of Ritual Practice—An Interpretation.Peter Yih-Jiun Wong - 2012 - Sophia 51 (2):243-255.
    Music is an important philosophical theme in Confucian writings, one that is intimately related to ritual. But the relationship between music and ritual requires clarification. This paper seeks to argue for a general sense of music that reflects a particular aspect of ritual that has to do with performance. There is much material available in classical texts, such as the 'Record of Music' ('Yueji'), that allows for nuanced explications of the musical qualities of such performances. Thus explicated, those (...) terms provide for a way of speaking about the overall effects of ritual that is not bound to specific choreographic details or particular ritual rules. Finally, it is suggested that the Confucian notion of ren 仁 could be usefully compared to the generalised notion of music. (shrink)
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  6.  9
    Vocal Music as a Medium for Emotional Transmission: The Application of Emotion Philosophy in Vocal Music Teaching.Chunyu Tian - 2024 - European Journal for Philosophy of Religion 17 (1):66-80.
    Our study explored the application of emotion philosophy in vocal music teaching. We utilized surveys, semi-structured interviews, and focus group discussions to gather data from a group of 18 students. The survey results revealed an average familiarity with emotion philosophy concepts but a strong agreement on the importance of understanding a song's emotions for effective singing. Students perceived their current vocal training to be somewhat helpful in understanding emotional background but felt it focused more on technical skills than fostering emotional (...)
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  7. Effects of Amateur Musical Experience on Categorical Perception of Lexical Tones by Native Chinese Adults: An ERP Study.Jiaqiang Zhu, Xiaoxiang Chen & Yuxiao Yang - 2021 - Frontiers in Psychology 12.
    Music impacting on speech processing is vividly evidenced in most reports involving professional musicians, while the question of whether the facilitative effects of music are limited to experts or may extend to amateurs remains to be resolved. Previous research has suggested that analogous to language experience, musicianship also modulates lexical tone perception but the influence of amateur musical experience in adulthood is poorly understood. Furthermore, little is known about how acoustic information and phonological information of lexical tones are processed (...)
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  8.  30
    Essays on Music.Richard Leppert & Susan H. Gillespie (eds.) - 2002 - University of California Press.
    Theodor W. Adorno, one of the principal figures associated with the Frankfurt School, wrote extensively on culture, modernity, aesthetics, literature, and—more than any other subject—music. To this day, Adorno remains the single most influential contributor to the development of qualitative musical sociology which, together with his nuanced intertextual readings of musical works, gives him broad claim as a continuing force in the study of music. This long-awaited collection of twenty-seven essays represents the full range of Adorno's music writing. (...)
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  9.  57
    Ineffabilities of Making Music: An Exploratory Study.Daniel A. Schmicking - 2006 - Journal of Phenomenological Psychology 37 (1):9-23.
    Some facets of making music are explored by combining arguments of Raffman's cognitivist explanation of ineffability with Merleau-Ponty's view of embodied perception. Behnke's approach to a phenomenology of playing a musical instrument serves as a further source. Focusing on the skilled performer-listener, several types of ineffable knowledge of performing music are identified: gesture feeling ineffability —the performer's sensorimotor knowledge of the gestures necessary to produce instrumental sounds is not exhaustively communicable via language; gesture nuance ineffability —the performer is (...)
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  10.  2
    Philosophy and theory in music therapy: navigating the labyrinth.Michael L. Zanders - 2025 - Glen Rock, PA: Barcelona Publishers.
    Philosophy and Theory in Music Therapy: Navigating the Labyrinth invites students, clinicians, and educators to explore the foundational philosophies and theories that shape music therapy. For students, it emphasizes the importance of philosophy and theory as the cornerstones of practice, research, and professional growth. For clinicians, it offers fresh perspectives to enhance their practice, delving into ideas that may not have been part of their formal training. For educators, it provides nuanced explanations of music therapy theories, transcending the adaptation of (...)
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  11.  38
    Groove: A Phenomenology of Rhythmic Nuance.Tiger C. Roholt - 2014 - New York: Bloomsbury Academic.
    Roholt explains why grooves, which are forged in music’s rhythmic nuances, remain hidden to some listeners. He argues that grooves are not graspable through the intellect nor through mere listening; rather, grooves are disclosed through our bodily engagement with music. We grasp a groove bodily by moving with music’s pulsations. By invoking the French philosopher Maurice Merleau-Ponty’s notion of “motor intentionality,” Roholt shows that the “feel” of a groove, and the understanding of it, are two sides of a coin: to (...)
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  12. (1 other version)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. For (...)
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  13.  80
    Language, Music and Mind.Georges Rey - 1997 - Philosophical Review 106 (4):641.
    The central point of Raffman’s discussion is to distinguish the perception, knowledge, and effability of the standard chromatic “categorical” pitch events from what she calls “nuance” pitch events—events whose individuation is more fine-grained than C-events, and which seem to resist reliable, psychologically available categorization. Thus, two pitches a quarter-tone apart may be classified as the same C-event, even though they are different N-events. Experimental evidence suggests that whereas people are quite good at recall and discrimination of C-events, they are (...)
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  14. "The Mind Hears": An Examination of Some Philosophical Perspectives on Musical Experience.Jeanette Bicknell - 2000 - Dissertation, York University (Canada)
    An adequate account of musical understanding must be sufficiently detailed and nuanced so as to be able to make sense of the experience of listeners with diverse musical and cultural backgrounds. It should also help us begin to understand the wide variety of responses to music, including the responses of those who hear music as having semantic content. I approach these issues in the more general philosophical context of aesthetic understanding. As an approach to my own position, I (...)
     
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  15.  15
    Tacit engagement and digital musical instruments: longitudinal work with the Resonant Object Interface, the Floors, and the Table Floors.Sasha Leitman & Iran Sanadzadeh - forthcoming - AI and Society:1-13.
    Designing and developing a digital musical instrument (DMI) to a level of refinement that provides musically rich applications and nuanced interaction capabilities requires a long-term commitment to both technical and creative aspects. This process often leads to the acquisition of sensory, communicative, and intuitive knowledge—dimensions of instrument design that are typically overlooked in mainstream discussions. This paper explores this development journey through the lens of three instruments: the Resonant Object Interface (ROI), the Floors, and the Table Floor. These instruments (...)
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  16.  35
    Emphasis and Suggestion Versus Musical Taxidermy: Neoliberal Contradictions, Music Education, and the Knowledge Economy.J. Paul Louth - 2020 - Philosophy of Music Education Review 28 (1):88.
    Abstract:For decades, education has been inundated with neoliberal policies described as enabling its structures to adjust to a global knowledge economy. Located at the intersection of such "reform" language and classical liberal economic theory is a troubling paradox–the idea that knowledge should be centrally concentrated in order to "liberalize" education along free market lines. This essay considers implications of centralized knowledge for music education in light of this contradiction and the rhetoric that obscures it. To raise awareness of this paradox, (...)
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  17.  29
    To beat or not to beat? On music, violence, and education.Wiebe Koopal - 2022 - Ethics and Education 17 (1):117-139.
    ABSTRACT In this article I venture the hypothesis that music confronts education with the possibility to think violence in ways that are both inherently educational and radically affirmative. Beginning with a reflection on a poem by Elizabeth Barrett Browning, which emphatically evokes the violence within the genesis of music, I then move in a different direction in the second section, which surveys how extant (music-) educational has thematized violence so far. Concluding that this thematization, notwithstanding many nuances, invariably implies a (...)
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  18.  21
    Reimagining Inclusive Music Education: Reflections from a Black Music Educator.Suzanne Hall - 2024 - Philosophy of Music Education Review 32 (1):62-82.
    The Eurocentric canon remains the predominant focus of music education often excluding the role of music and experiences of Black individuals and people of color. This singular perspective creates an incomplete and inaccurate understanding of the comprehensive nature of music and the humans who create, perform, and engage with it. In this article, the author shares her experience as a Black music educator and her aspirations for a music profession that incorporates the full range of human music engagement and expression. (...)
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  19.  17
    Rethinking Social Action through Music: The Search for Coexistence and Citizenship in Medellín’s Music Schools by Geoffrey Baker (review).Kim Boeskov - 2023 - Philosophy of Music Education Review 31 (1):92-98.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Rethinking Social Action through Music: The Search for Coexistence and Citizenship in Medellín’s Music Schools by Geoffrey BakerKim BoeskovGeoffrey Baker: Rethinking Social Action through Music: The Search for Coexistence and Citizenship in Medellín’s Music Schools (Cambridge, UK: Open Book Publishers, 2021)If indeed there exists, as Geir Johansen has proposed,1 a self-critical movement within the field of music education, Geoffrey Baker is undoubtedly one of its leading figures. According (...)
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  20.  40
    Singing Democracy: Music and Politics in Jean-Jacques Rousseau's Thought.Julia Simon - 2004 - Journal of the History of Ideas 65 (3):433-454.
    In lieu of an abstract, here is a brief excerpt of the content:Singing Democracy:Music and Politics in Jean-Jacques Rousseau's ThoughtJulia SimonComment? Tous les intervalles de mon Clavecin sont altérés?... Fi, le vilain instrument; ne m'en parlez plus.... Je veux chanter.—Anton Bemetzrieder, Leçons de ClavecinDemocratic theory of the eighteenth century, and particularly Rousseau's, is suffused with the idealism and lack of pragmatism that make it both immensely compelling and extraordinarily frustrating. Conceived under the decaying edifice of the absolute monarchy, it strives (...)
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  21.  6
    Promoting Metron in Music Education.Giulia Ripani - 2022 - Philosophy of Music Education Review 30 (1):4-23.
    Flourishing has become a popular ideal in the educational debate. Could flourishing guide meaningful choices in education? My skepticism rests on unclear definitions of _flourishing_, a hidden insistence of theories of flourishing on selfish and individualistic themes, and an elitist vision of flourishing as the consequence of favorable conditions. To avoid the controversial aspects of flourishing theories, I will suggest that education could instead promote medium-term goals that, without directly aiming at students’ realization, nurture the base on which students can (...)
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  22.  2
    Cultural Reflections in Pakistani Rap Music: A Study of 'the Sibbi song' and 'Karachi Chal’.Maliha Ameen - 2024 - Journal of Social Sciences and Humanities 63 (1):23-58.
    _This study probes into a comparative multimodal discourse analysis (MDA) of two influential Pakistani rap music videos ‘The Sibbi Song’ by Abid Brohi and ‘Karachi Chal’ performed by Young Stunners, a rap duo consisting of Talha Anjum and Talhah Yunus to explore their portrayal of societal hierarchies and individual identity. Drawing upon the theoretical framework of MDA the analysis has discovered the linguistic, visual, aural, spatial, and gestural elements of each video. The first video portrays the protagonist’s journey from innocence (...)
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  23.  14
    “Ever New Flights” of Creativity: Improvisation in South Indian Music.William J. Jackson - 2020 - Journal of Dharma Studies 3 (1):17-28.
    This inquiry explores the terms yogakshema, sampradaya, and manodharma sangita, as well as theories and practices of improvisation and innovation in music and other fields of Hindu culture. It considers the ways Hindu traditions play out the human contradiction—that life must always combine both old and new; the ways improvising is part of the Hindu frameworks in Vedic chanting, and the performance of ragas and other cultural activities in India. Both set patterns and nuanced interpretations in literary and musical (...)
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  24.  19
    Lauren Kapalka Richerme, Complicating, Considering, and Connecting Music Education (Bloomington, IN: Indiana University Press, 2020).Nasim Niknafs - 2022 - Philosophy of Music Education Review 30 (2):202-206.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Complicating, Considering, and Connecting Music Education by Lauren Kapalka RichermeNasim NiknafsLauren Kapalka Richerme, Complicating, Considering, and Connecting Music Education (Bloomington, IN: Indiana University Press, 2020)Laurern Kapalka Richerme courageously engages with some of the significant concepts of Gilles Deleuze and Félix Guattari in a timely bounded volume, Complicating, Considering, and Connecting Music Education. Through this colossal endeavor, though not the first time a music education scholar deeply explores Deleuzian (...)
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  25.  41
    “Om”: Singing Vedic Philosophy for Music Education.Aditi Gopinathan & Leonard Tan - 2023 - Philosophy of Music Education Review 31 (1):4-24.
    Extending a nascent line of Asian philosophical research in music education, we mine Indian philosophies of music and education. Three key questions guide our project: What are Vedic philosophies of music? What are Vedic philosophies of education? Taken together, what insights can we draw for contemporary music education writ large? To address our questions, we analyze key passages from the Upanishads and synthesize ideas from these texts. A quartet of inter-related ideas emerge from our analysis: the guru, the shishya, vidya, (...)
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  26.  55
    Phenomenology and temporality in the composition of experimental minimal music.Richard Glover & Bryn Harrison - 2013 - University of Huddersfield Repository.
    The paper’s authors are composers operating within the field of experimental music. Their music is created from the use of limited materials placed into repetitive structures involving cyclic pitch patterns and sustained tone textures. This reductive approach to composition provides a fertile area for discussions of temporality, as the music functions outside of standard teleological narrative structures thereby prompting more varied subjective temporal experiences for listeners. The paper will take as its starting point the experience of the listener, rather than (...)
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  27.  24
    Response to Lauren Kapalka Richerme, “The Diversity Bargain and the Discourse Dance of Equitable and Best,” Philosophy of Music Education Review 27, No. 2 (Fall, 2019). [REVIEW]Nasim Niknafs - 2019 - Philosophy of Music Education Review 27 (2):215.
    In lieu of an abstract, here is a brief excerpt of the content:Response to Lauren Kapalka Richerme, "The Diversity Bargain and the Discourse Dance of Equitable and Best," Philosophy of Music Education Review 27, no. 2 (Fall, 2019)Nasim NiknafsI was asked to write a response to Lauren Richerme's convincing research on why and how one should distinguish between "equitable educational practices"1 and what she calls following Ellen Berry the "diversity bargain" where equity as the second-best option has always taken a (...)
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  28.  53
    Groove: A Phenomenology of Rhythmic Nuance by Tiger C. Roholt.Andrew Kania - 2017 - Journal of Aesthetic Education 51 (1):115-119.
    Musicians of all sorts talk of getting “into a groove,” whether using those words or others; musical listeners also talk about the groove of a passage of music, a performance, or a recording. In his four-chapter essay, Groove, Tiger Roholt offers answers to questions that seem obvious candidates for philosophical inquiry yet that few philosophers have even touched on: what is a groove, exactly, and what is it to perceive or understand—to get— a groove? His answers are intriguing, not (...)
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  29.  45
    Formalism and Virtuosity: Franco-Burgundian Poetry, Music, and Visual Art, 1470-1520.Jonathan Beck - 1984 - Critical Inquiry 10 (4):644-667.
    Let us look first at poetry. It is well known that by the fifteenth century, lyric poetry had undergone a radical transformation; the early lyric fluidity and formal variability had hardened into the nonlyric and even, some maintain, antilyric forms fixes which characterize the poetic formalism of late medieval France. Dispensing with the details of how and why this occurred, the essential point is that by the end of the Middle Ages, the poet in France and Burgundy saw himself as (...)
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  30.  37
    Plato Pindaricus.Zsolt Adorjáni - 2021 - Hermes 149 (1):31.
    In this paper I argue for a fully intended and carefully tailored allusion in Plato’s Phaedrus to Pindar’s Pythian 1 with the pivotal image of Typho. The analysis of verbal and conceptual links leads to a better appreciation of the nuances in the Platonic passage, including a hitherto utterly unexplored layer of the text, its musical metaphoricity. On this level several main themes of Plato’s thought, such as the problem of singleness vs. manyness, musical ethos and criticism, converge (...)
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  31.  7
    L'humour en musique: et autres légèretés sérieuses depuis 1960.Étienne Kippelen (ed.) - 2017 - Aix-en-Provence: Presses universitaires de Provence.
    L'humour en musique n'a pas bonne presse. Labile, déroutant, anecdotique, il a été vilipendé par certains philosophes et compositeurs de la modernité – Schopenhauer, Adorno, Varèse et Boulez en tête – tandis que d'autres – Bergson, Jankélévitch – y voyaient l'expression d'une légèreté sérieuse, l'essence même de l'art. Après une période de déni, consécutive à la Seconde Guerre mondiale, l'humour musical se manifeste depuis les années 1960 chez de multiples compositeurs comme Mauricio Kagel, Gyêrgy Ligeti, Luc Ferrari, Luciano Berio, (...)
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  32.  73
    “Hearken to the Hermit-Thrush”1: A Case Study in Interdisciplinary Listening.Emily L. Doolittle - 2020 - Frontiers in Psychology 11:613510.
    Birdsong is widely analysed and discussed by people coming from both musical and scientific backgrounds. Both approaches provide valuable insight, but I argue that it is only through combining musical and scientific points of view, as well as perspectives from more tangentially related fields, that we can obtain the best possible understanding of birdsong. In this paper, I discuss how my own training as a musician, and in particular as a composer, affects how I listen to and parse (...)
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  33.  2
    Black Sonic Traditions as a Resource for Teaching and Learning Ethics in advance.Julian Armand Cook - forthcoming - Journal of the Society of Christian Ethics.
    The sonic and aesthetic nuances of Black religious traditions have often gone underexamined as critical resources for Christian ethical reflections and scholarship. Many Christian ethics scholars have focused on text-based analyses of lyrics, doctrinal statements, sermons, and archives. More teaching and scholarship on how the sounds and aesthetics performed in specific Black religious contexts could enrich Christian ethics discourses. But how should teachers responsibly engage the Black religious sonic in teaching and learning Christian ethics? This essay posits Black religious sounds (...)
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  34. Ästhetik des Fado.Andreas Dorschel - 2015 - Merkur 69 (2):79-86.
    Fado, the urban folk of Lisbon and Coimbra, is an art of nuances. These nuances music takes from poetry; as ‘sung poetry’ (‘poema cantado’ in Portuguese) fados are not to be equated with ‘songs’ that turn the word into a vehicle – a dominant procedure in, e.g., rock music. Again, ‘voice’ in fado does not so much manifest individual expression; rather it is, as it were, ‘on loan’ from tradition. Keeping some distance from dance, too, fado at the beginning of (...)
     
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  35. Mundrys Nuancen.Andreas Dorschel - 2015 - In Heike Hoffmann, Salzburg Biennale 2015. Salzburg Biennale. pp. 62-64.
    The production of artworks can be based on a fixed modus operandi, i.e., on a general manner and, alongside, specific patterns to be applied all over again. Alternatively, each artwork can be seen as (cor-)responding to an individual problem for which there is no recipe; in this case it needs to be looked at afresh. That approach characterizes the aesthetics of music composer Isabel Mundry (*1963); her art, ever unpredictable, is one of nuances.
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  36.  11
    Dynamic schematic complexes.Mihailo Antović, Vladimir Ž Jovanović & Vladimir Figar - 2023 - Pragmatics and Cognition 30 (2):258-295.
    The article focuses on meaning generation in music and language cognition based on complexes of image schemas. We hypothesize that schemas are involved in dynamic interactions fostering online complex conceptual construction found both in language and elsewhere in various cognitive code expressions. Expanding on recent work, we propose that an account of image-schema interaction should include the notion of scalarity, a higher-order parameter which captures the intensity with which schemas occur and/or interact with one another. In that sense, schemas are (...)
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  37.  10
    Rugs, guitars, and fiddling: intensification and the rich modern lives of traditional arts.Chris Goertzen - 2022 - Jackson: University Press of Mississippi.
    What do exotic area rugs, handcrafted steel-string guitars, and fiddling have in common today? Many contemporary tradition bearers embrace complexity in form and content. They construct objects and performances that draw on the past and evoke nostalgia effectively but also reward close attention. In Rugs, Guitars, and Fiddling: Intensification and the Rich Modern Lives of Traditional Arts, author Chris Goertzen argues that this entails three types of change that can be grouped under an umbrella term: intensification. First, traditional creativity can (...)
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  38.  18
    Loneliness and Lament: A Journey to Receptivity.Patricia J. Huntington - 2009 - Indiana University Press.
    Patricia Joy Huntington reflects that loneliness does not only consist of the heartfelt absences of a friend, partner, spouse, or child, but rather stems from a radical breach in one's life journey. In this conceptually rigorous and warmly poetic book, Huntington develops a unique philosophy of receptivity and an original portrait of redemptive suffering. By fully exploring notions of pain, she also examines how the relation between the heart's musical attunement and meaning-filled life passages can lead one to a (...)
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  39.  80
    The soundscape: our sonic environment and the tuning of the world.R. Murray Schafer - 1977 - [United States]: Distributed to the book trade in the United States by American International Distribution.
    Schafer contends that we suffer from an overabundance of acoustic information, and explores ways to restore our ability to hear the nuances of sounds around us.
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  40.  19
    Francis Bacon: The Logic of Sensation.Gilles Deleuze - 2003 - Minneapolis: Univ of Minnesota Press.
    Translated and with an Introduction by Daniel W. Smith Afterword by Tom Conley Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. This first English translation shows us one of the most original and important French philosophers of the twentieth century in intimate confrontation with one of that century’s most original and important painters. In considering Bacon, Deleuze (...)
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  41.  7
    La fiction de la postmodernité selon l'esprit de la musique.Daniel Charles - 2001 - Paris: Presses universitaires de France.
    L'intitulé du présent ouvrage a été choisi pour faire écho à la critique formulée naguère par Jean-François Lyotard à l'encontre d'Adorno : Lyotard réclamait, pour aborder les musiques qu'il estimait susceptibles de participer authentiquement à la " réécriture de la modernité ", que l'on abandonnât l'" alternative " définie par cet auteur ; n'étant " ni apparence, musica ficta, ni connaissance laborieuse, musica fingens ", l'œuvre (ou la non-œuvre) " littérale ", povera, serait " jeu métamorphique d'intensités sonores, travail parodique (...)
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  42.  16
    Les variations morales de Diderot.Charles Vincent - 2015 - Cultura:95-109.
    Après avoir rappelé le sens musical du mot variation, l’article se penche sur les nuances synonymiques du lexique de la variation dans les dictionnaires des synonymes et dans les articles de Diderot de l’Encyclopédie. Emerge alors un embarras du philosophe sur la question morale et politique de la variation. Inéluctable et parfois souhaitable, la variation des pensées, des individus et des sociétés doit cependant être compensée par des ferments d’unité et de constance. L’écriture fictionnelle permet de mettre en scène (...)
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  43. 'American Pie’ and the Self-critique of Rock ‘n’ Roll.Michael Baur - 2006 - In William Irwin & Jorge J. E. Gracia, 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 Pie” (...)
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  44.  5
    Mystery on the Move: Aquinas’s Theological Method as Transforming Wisdom.Gilles Mongeau - 2016 - The Thomist 80 (2):285-300.
    In lieu of an abstract, here is a brief excerpt of the content:Mystery on the Move:Aquinas’s Theological Method as Transforming WisdomGilles Mongeau, S.J.CONTEMPORARY APPROACHES to the thought of Thomas Aquinas have begun to recover its character as a “wisdom practice” aimed at the transformation of persons and sociocultural situations.1 The wise person helps others move along a path through the mysteries of faith toward a wisely ordered life for themselves in a justly ordered society. The starting point of this essay (...)
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  45.  25
    Economy, Society, Tragedy: Moral Reflections in an Age of Crisis and Austerity.Louis A. Ruprecht Jr - 2020 - Arion 28 (2):137-170.
    In lieu of an abstract, here is a brief excerpt of the content:Economy, Society, Tragedy: Moral Reflections in an Age of Crisis and Austerity LOUIS A. RUPRECHT JR. Precisely their tragedies prove that the Greeks were not pessimists... In this sense, I have the right to understand myself as the first tragic philosopher—that is to say, the most extreme antithesis and antipode of a pessimistic philosopher. —Nietzsche, Ecce Homo, “The Birth of Tragedy” Orgiastic religion leads most readily to song and (...)
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  46.  10
    Research handbook on legal semiotics.Anne Wagner & Sarah Marusek (eds.) - 2023 - Northampton: Edward Elgar Publishing.
    This comprehensive Research Handbook explores the wide variety of work conducted in legal semiotics, providing a thorough understanding of how the law works through signs and symbols. Demonstrating that the law is a strategical system of fluctuating signs, contributors critically analyse the ever-evolving conceptualisations of law and legal discourse. Bringing together leading international experts, this Research Handbook focuses on the material, everyday forms of law comprised by non-verbal legal semiotics. Contributors conduct culturally nuanced semiotic analyses of the modern world, covering (...)
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  47. Orbital Contour: Videos by Craig Dongoski.Paul Boshears - 2011 - Continent 1 (2):125-128.
    continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...)
     
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  48.  11
    Nancy Now.Verena Andermatt Conley & Irving Goh (eds.) - 2014 - Malden, MA: Polity.
    Jean-Luc Nancy stands as one of the great French theorists of "deconstruction." His writings on philosophy, politics, aesthetics, and religion have significantly contributed to the development of contemporary French thought and helped shape and transform the field of continental philosophy. Through Nancy's immense oeuvre, which covers a wide range of topics such as community, freedom, existence, sense/ touch, democracy, Christianity, the visual arts and music, and writing itself, we have learned to take stock of the world in a more nuanced (...)
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  49.  72
    Once Again, This Time with Feeling.Stephen Davies - 2004 - Journal of Aesthetic Education 38 (2):1.
    In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 1-6 [Access article in PDF] Once Again, This Time with Feeling Stephen Davies The arbitrariness of so many virtuosos is partly responsible for the excess of expression marks to be found in the works of composers who thus hoped to forestall distortion and misinterpretation. Yet, complete control over the performer is not only impossible but also undesirable. The only remedy is to (...)
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  50.  49
    In (partial) defence of offensive art: Whitehouse as Freirean codification.Peter J. Woods - 2018 - Journal for Cultural Research 22 (1):90-104.
    Arguments over the value of ‘extreme music’ and the use of highly controversial imagery within these genres have existed since its inception. Detractors claim that using extreme imagery such as fascist symbols, pornography and racially charged photographs inherently promotes the corrosive ideologies behind these images. Some purveyors of extreme music disagree, arguing that musicians use these images to explore humanity’s darker elements which, in turn, allow audiences to better understand these problematic aspects of modern society. When played out within underground (...)
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