Results for 'musical sense-making'

968 found
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  1. Musical Sense-Making and the Concept of Affordance: An Ecosemiotic and Experiential Approach.Mark Reybrouck - 2012 - Biosemiotics 5 (3):391-409.
    This article is interdisciplinary in its claims. Evolving around the ecological concept of affordance, it brings together pragmatics and ecological psychology. Starting from the theoretical writings of Peirce, Dewey and James, the biosemiotic claims of von Uexküll, Gibson’s ecological approach to perception and some empirical evidence from recent neurobiological research, it elaborates on the concepts of experiential and enactive cognition as applied to music. In order to provide an operational description of this approach, it introduces some conceptual tools from the (...)
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  2.  22
    Musical sense-making. Music cognition between perceptual experience and cognitive economy.Mark Reybrouck - forthcoming - Estetyka I Krytyka.
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  3. Constructivist Foundations of Musical Sense-Making: Eigenbehavior and the Role of Circularity.Mark Reybrouck - 2017 - Constructivist Foundations 12 (3):355-356.
    The aim of this commentary is to position Scott’s contribution within the broader framework of enactive cognition and dynamic systems and to explore its possible relation to the ecological and biosemiotics approach to music knowledge construction.
     
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  4.  79
    Sense-Making, Meaningfulness, and Instrumental Music Education.Marissa Silverman - 2020 - Frontiers in Psychology 11.
    The purpose of this paper is to re-examine the nature of “meaning” and “meaningfulness” in the context of instrumental music education. By doing so, I propose to expand the ways in which instrumental music educators conceive their mission and the ways in which we may instill meaning in people’s lives. Traditionally, pursuits of philosophical deliberation have claimed that meaningfulness comes from either personal happiness (e.g., Jeremy Bentham and John Stuart Mill) or an impersonal sense of duty (e.g., St. Augustine, (...)
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  5.  92
    Enacting musical emotions. sense-making, dynamic systems, and the embodied mind.Andrea Schiavio, Dylan van der Schyff, Julian Cespedes-Guevara & Mark Reybrouck - 2017 - Phenomenology and the Cognitive Sciences 16 (5):785-809.
    The subject of musical emotions has emerged only recently as a major area of research. While much work in this area offers fascinating insights to musicological research, assumptions about the nature of emotional experience seem to remain committed to appraisal, representations, and a rule-based or information-processing model of cognition. Over the past three decades alternative ‘embodied’ and ‘enactive’ models of mind have challenged this approach by emphasising the self-organising aspects of cognition, often describing it as an ongoing process of (...)
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  6.  23
    Against Music? Heuristics and Sense-Making in Listening to Contemporary Popular Music.Vincenzo Zingaro - 2022 - Philosophies 7 (2):38.
    Is the ubiquity of contemporary popular music akin to a deliberate aggression to the hearing, making the listening experience devoid of any sense? If so, is there any strategy to morph this supposed confusion into meaningful stimuli? Relying on epistemology, we attempt at promoting the act of listening as a proper way of world-making and refer to Mark Reybrouck, Bruno Nettl, Steven Brown and Joseph Jordania—among others—to gather appropriate heuristic tools. In the last part of the essay, (...)
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  7.  22
    Globalization and sense-making practices: phenomenologies of the global, local and glocal.Simi Malhotra, Zahra Rizvi & Shraddha A. Singh (eds.) - 2023 - New York: Routledge.
    This book presents a critical analysis of sense-making practices through an exploration of acoustic, creative, and artistic spaces. It studies how local cultures of sight, hearing, smell, taste, and touch are impacted by global discourses and media, such as television, popular music, digital media, and literature. The authors look at sense-making practices and spatial discourses through an interconnected discussion on thought and experience that seeks to present a multidimensional cartography of the global, the local, and the (...)
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  8. Music and Its Inductive Power: A Psychobiological and Evolutionary Approach to Musical Emotions.Mark Reybrouck & Tuomas Eerola - 2017 - Frontiers in Psychology 8.
    The aim of this contribution is to broaden the concept of musical meaning from an abstract and emotionally neutral cognitive representation to an emotion-integrating description that is related to the evolutionary approach to music. Starting from the dispositional machinery for dealing with music as a temporal and sounding phenomenon, musical emotions are considered as adaptive responses to be aroused in human beings as the product of neural structures that are specialized for their processing. A theoretical and empirical background (...)
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  9.  10
    Making sense in music: an enquiry into the formal pragmatics of art.Jozef Johannes Petrus Maria Kunst - 1978 - Ghent, Belgium: Communication & Cognition.
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  10.  34
    Stop making sense: music from the perspective of the real.Scott Wilson - unknown
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  11.  28
    Probing Cognitive Enhancements of Social “Resonance” – Towards a Aesthetic Community of Sensing and Making Music Together.Alexander Gerner - 2017 - Kairos 19 (1):93-133.
    In my general aim to probe a non-reductionist Philosophy of Cognitive Enhancement, considering social self-other relations and the epistemic 2PP in social syn-aesthetic tuning-ins, synchronisations and tuning-outs, this paper amplifies the Aristotelian common sense concept κοινὴ αἲσθησις2 by analysing the concept and metaphor of “resonance”3 in contemporary debates on >resonance< as acoustic and multimodal figure of thought. Resonance as shown in scientific models derived from acoustics will be applied to an aesthetic comunity of sensing and making music together (...)
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  12. Music Cognition as a Window to the World.Mark Reybrouck - 2011 - Semiotics:55-62.
    Worldviews are windows to the world. They can be static in referring to visual connotations as suggested by their name, but they can hold a dynamic and genetic view as well. As such, they imply a fundamental cognitive orientation, involving selection, interpretation and interaction with the world. What matters, in this view, is a kind of sense-making or semiotization of the world. -/- The semiotization of the “sonic world”, accordingly, can be approached from different epistemological positions: is music (...)
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  13.  19
    (1 other version)A Language of its Own: Sense and Meaning in the Making of Western Art Music.Ruth Katz - 2010 - University of Chicago Press.
    The Western musical tradition has produced not only music, but also countless writings about music that remain in continuous—and enormously influential—dialogue with their subject. With sweeping scope and philosophical depth, _A Language of Its Own_ traces the past millennium of this ongoing exchange. Ruth Katz argues that the indispensible relationship between intellectual production and musical creation gave rise to the Western conception of music. This evolving and sometimes conflicted process, in turn, shaped the art form itself. As ideas (...)
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  14.  24
    Philosophy of Music: An Introduction.R. A. Sharpe - 2004 - Routledge.
    This lively and lucid introduction to the philosophy of music concentrates on the issues that illuminate musical listening and practice. It examines the conceptual debates relevant to the understanding and performing of music and grounds the philosophy to practical matters throughout. Ideal for a beginning readership with little philosophical background, the author provides an overview of the central debates enlivened by a real sense of enthusiasm for the subject and why it matters. The book begins by filling in (...)
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  15.  9
    Music, discourse and intuitive technology.Jonathan Impett - 2023 - AI and Society 38 (5):1885-1896.
    This paper proposes that intuitive technologies play a vital role in cognition and cultural reception. The case of music is considered in particular. The perceived temporality of contemporary technology is shown to be an artificial barrier to the acknowledgement of longer-term dynamics. The increased role of explanatory metaphors from technology is traced across various fields of study. Processes of sense-making—conscious or otherwise—are seen as an informal, unreflected repertory of mechanisms ranging from predictive models to instrumental metaphors. It is (...)
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  16.  12
    Flourishing in Resonance: Joint Resilience Building Through Music and Motion.Luc Nijs & Georgia Nicolaou - 2021 - Frontiers in Psychology 12.
    Worldwide, children face adverse childhood experiences, being exposed to risks ranging from, exposure to political violence and forced migration over the deleterious effects of climate change, to unsafe cultural practices. As a consequence, children that seek refuge or migrate to European countries are extremely vulnerable, often struggling with integration in school, peer community, and their broader social circle. This multifaceted struggle can derive from external factors, such as the adaptation process and contact with other children, or internal factors such as (...)
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  17.  25
    Music, discourse and intuitive technology.Jonathan Impett - 2021 - AI and Society:1-12.
    This paper proposes that intuitive technologies play a vital role in cognition and cultural reception. The case of music is considered in particular. The perceived temporality of contemporary technology is shown to be an artificial barrier to the acknowledgement of longer-term dynamics. The increased role of explanatory metaphors from technology is traced across various fields of study. Processes of sense-making—conscious or otherwise—are seen as an informal, unreflected repertory of mechanisms ranging from predictive models to instrumental metaphors. It is (...)
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  18.  2
    The Normative Space of Musical Performance: Expertise and the Symbolic Body.Ståle Finke & Mattias Solli - forthcoming - British Journal of Aesthetics.
    This article proposes a communicative, imitative, and reflective account of musical learning and expertise. It starts from an affirmative yet critical reading of Høffding and collaborators, notably their idea of a musical arch, meant to bridge distinctions between low-level procedural enactment and high-level reflective cognition. While we embrace much of their analysis, we argue that they uphold tensions between these levels. Drawing on recent enactivist thought, phenomenological and hermeneutic resources, and developmental psychology, we propose a ‘linguistic turn’ that (...)
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  19.  16
    Musical vitalities: ventures in a biotic aesthetics of music.Holly Watkins - 2018 - London: University of Chicago Press.
    Does it make sense to refer to bird song - a complex vocalization, full of repetitive and transformative patterns that are carefully calculated to woo a mate - as art? What about a pack of wolves howling in unison or the cacophony made by an entire rain forest? Redefining music as "the art of possibly animate things," Musical Vitalities charts a new path for music studies that blends musicological methods with perspectives drawn from the life sciences. In opposition (...)
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  20.  74
    Musical Formalism and Political Performances.Jonathan A. Neufeld - 2009 - Contemporary Aesthetics 7.
    Musical formalism, which strictly limits the type of thing any description of the music can tell us, is ill-equipped to account for contemporary performance practice. If performative interpretations are in a position to tell us something about musical works—that is if performance is a kind of description, as Peter Kivy argues—then we have to loosen the restrictions on notions of musical relevance to make sense of performance. I argue that musical formalism, which strictly limits the (...)
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  21.  62
    From Sound to Music: An Evolutionary Approach to Musical Semantics. [REVIEW]Mark Reybrouck - 2013 - Biosemiotics 6 (3):1-22.
    This paper holds an evolutionary approach to musical semantics. Revolving around the nature/nurture dichotomy, it considers the role of the dispositional machinery to respond to sounding stimuli. Conceiving of music as organized sound, it stresses the dynamic tension between music as a collection of vibrational events and their potential of being structured. This structuring, however, is not gratuitous. It depends on levels of processing that rely on evolutionary older levels of reacting to the sounds as well as higher-level functions (...)
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  22. An Experiential Approach To Musical Semantics.Mark Reybrouck - 2008 - Semiotics:806-818.
    This paper is about knowledge construction in music listening. It argues for an experiential approach to music cognition, stressing the dynamic-vectorial field of meaning rather than the symbolic field. Starting from the conceptual framework of deixis and indexical devices, it elaborates on the concept of pointing as a heuristic guide for sense-making which allows the listener to conceive of perceptual elements in terms of salience, valence and semantical weight. As such, the act of (mental) pointing can be predicative, (...)
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  23.  37
    Exploratory expertise and the dual intentionality of music-making.Simon Høffding & Andrea Schiavio - 2019 - Phenomenology and the Cognitive Sciences 20 (5):811-829.
    In this paper, we advance the thesis that music-making can be advantageously understood as an exploratory phenomenon. While music-making is certainly about aesthetic expression, from a phenomenological, cognitive, and even evolutionary perspective, it more importantly concerns structured explorations of the world around us, our minds, and our bodies. Our thesis is based on an enactive and phenomenological analysis of three cases: the first concerns the study of infants involved in early musical activities, and the two latter are (...)
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  24.  14
    Musical agency and the social listener.Cora S. Palfy - 2021 - New York, NY: Routledge.
    Music as a narrative drama is an intriguing idea, which has captured explicit music theoretical attention since the nineteenth century. Investigations into narrative characters or personae has evolved into a sub-field--musical agency. In this book, Palfy contends that music has the potential to engage us in social processes and that those processes can be experienced as a social interaction with a musical agent. She explores the overlap between the psychological processes in which we participate in order to understand (...)
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  25. Dance, Music, Meter and Groove: A Forgotten Partnership.W. Tecumseh Fitch - 2016 - Frontiers in Human Neuroscience 10:150796.
    I argue that core aspects of musical rhythm, especially "groove" and syncopation, can only be fully understood in the context of their origins in the participatory social experience of dance. Musical meter is first considered in the context of bodily movement. I then offer an interpretation of the pervasive but somewhat puzzling phenomenon of syncopation in terms of acoustic emphasis on certain offbeat components of the accompanying dance style. The reasons for the historical tendency of many musical (...)
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  26.  19
    Music as an Universal Language for Peacebuilding.Anja Andriamasy - 2023 - Journal of Ethics in Higher Education 2:45-67.
    Many people claim that music is a universal language considering the impact and beneficial results that it usually triggers, whereas others reject the idea due to contextual or cultural sentiments and parameters that must be considered. Both sides’ arguments make sense but, despite skepticism, music should be considered as a universal language, which becomes clear by depicting it in the context of peacebuilding and by exploring its linguistics and therapeutic effects, through various domains such as philosophy, music theory and (...)
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  27.  12
    Digital signatures: the impact of digitization on popular music sound.Ragnhild Brøvig - 2016 - Cambridge, Massachusetts: The MIT Press. Edited by Anne Danielsen.
    Introduction : digital technology and popular music sound -- Making sense of digital spatiality : Kate Bush's eerie collage -- The instrument formerly known as the machine : hyper-accuracy and sonic richness in Prince's Kiss -- The rebirth of silence in the company of noise : Portishead going retro -- Cut-ups and glitches : Los Sampler's and Squarepusher's freeze and flow -- Seasick computers : microrhythmic manipulation in the era of endless undo -- Autotuned voices : alienation and (...)
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  28.  12
    Harmony through Ritual and Music in the Xunzi : Between Distancing and Unifying. 양순자 - 2018 - Journal of the Daedong Philosophical Association 84:95-122.
    Xunzi discussed solidarity in two ways, that is, distancing through ritual and unifying through music. Therefore, it can be said that the solidarity is achieved between distancing from and closing to others. In this paper, I try to find an answer to the question how the solidarity is possible in Xunzi's ideas. Xunzi emphasized that individuals are different in discussing the solidarity through the rituals. When they accept the standard for differentiating themselves, they can be unified. In other words, they (...)
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  29.  12
    Music as an Archetype in the 'Collective Unconscious'.Anthony Palmer - 1997 - Dialogue and Universalism 7 (3):187-200.
    The making of music has been sufficiently deep and widespread diachronically and geographically to suggest a genetic imperative. C.G. Jung's 'Collective Unconscious' and the accompanying archetypes suggest that music is a psychic necessity because it is part of the brain structure. Therefore, the present view of aesthetics may need drastic revision, particularly on views of music as pleasure, ideas of disinterest, differences between so-called high and low art, cultural identity, cultural conditioning, and art-for-art's sake.All cultures, past and present, show (...)
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  30. Understanding the Score: Film Music Communicating to and Influencing the Audience.Jessica Green - 2010 - Journal of Aesthetic Education 44 (4):81.
    In lieu of an abstract, here is a brief excerpt of the content:Understanding the Score: Film Music Communicating to and Influencing the AudienceJessica Green (bio)IntroductionWhen most people sit down to watch a film, their focus usually stays on the very dynamic images that move onscreen. The dialogue, as a form of diegetic sound, is probably the next piece of the film they concentrate on, but this only imitates actual experience, since most people understand communication by both watching and listening. Christian (...)
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  31. Melting musics, fusing sounds. Stumpf, Hornbostel and Comparative Musicology in Berlin.R. Martinelli - 2014 - In R. Bod, J. Maat & T. Weststeijn (eds.), The Making of the Humanities. Vol. III: The Modern Humanities. Amsterdam University Press. pp. 391-401.
    The ancient Greeks already used to give ethnic names to their different scales, and observations on differences in music of the various nations always raised the interest of musicians and philosophers. Yet, it was only in the late nineteenth century that “comparative musicology” became an institutional science. An important role in this process was played by Carl Stumpf, a former pupil of Brentano’s who pioneered these researches in Berlin. Stumpf founded the Phonogrammarchiv to collect recordings of folk and extra-European music (...)
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  32.  99
    An enactivist approach to treating depression: cultivating online intelligence through dance and music.Michelle Maiese - 2020 - Phenomenology and the Cognitive Sciences 19 (3):523-547.
    This paper utilizes the enactivist notion of ‘sense-making’ to discuss the nature of depression and examine some implications for treatment. As I understand it, sensemaking is fully embodied, fundamentally affective, and thoroughly embedded in a social environment. I begin by presenting an enactivist conceptualization of affective intentionality and describing how this general mode of intentional directedness to the world is disrupted in cases of major depressive disorder. Next, I utilize this enactivist framework to unpack the notion of ‘temporal (...)
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  33. Auditory Neuroscience: Making Sense of Sound.Adam M. Croom - 2014 - Musicae Scientiae: The Journal of the European Society for the Cognitive Sciences of Music 18:1-3.
  34. Biological roots of musical epistemology: Functional cycles, Umwelt, and enactive listening.Mark Reybrouck - 2001 - Semiotica 2001 (134):599-633.
    This article argues for an epistemology of music, stating that dealing with music can be considered as a process of knowledge acquisition. What really matters is not the representation of an ontological musical reality, but the generation of music knowledge as a tool for adaptation to the sonic world. Three major positions are brought together: the epistemological claims of Jean Piaget, the biological methodology of Jakob von Uexküll, and the constructivistic conceptions of Ernst von Glasersfeld, each ingstress the role (...)
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  35.  13
    Music's immanent future: the deleuzian turn in music studies.Sally Macarthur, Judith Irene Lochhead & Jennifer Robin Shaw (eds.) - 2016 - Burlington, VT, USA: Ashgate.
    The conversations generated by the chapters in Music's Immanent Future grapple with some of music's paradoxes: that music of the Western art canon is viewed as timeless and universal while other kinds of music are seen as transitory and ephemeral; that in order to make sense of music we need descriptive language; that to open up the new in music we need to revisit the old; that to arrive at a figuration of music itself we need to posit its (...)
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  36.  90
    Teaching the aesthetics of music today.Giovanni Guanti - 2009 - Topoi 28 (2):125-128.
    What sense does it make to teach the aesthetics of music today? The discussion begins with the illusion of identifying music and language, by regarding language as communication. We use words and propositions in thinking about music, but music is “something other” than words. An analysis of Cook’s conception of a musicographic network leads to thinking about the non-verbal existence of musical works and musical experience.
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  37. Music and Noise: Same or Different? What Our Body Tells Us.Mark Reybrouck, Piotr Podlipniak & David Welch - 2019 - Frontiers in Psychology 10.
    In this article, we consider music and noise in terms of vibrational and transferable energy as well as from the evolutionary significance of the hearing system of Homo sapiens. Music and sound impinge upon our body and our mind and we can react to both either positively or negatively. Much depends, in this regard, on the frequency spectrum and the level of the sound stimuli, which may sometimes make it possible to set music apart from noise. There are, however, two (...)
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  38.  56
    Wittgenstein, Music and the Philosophy of Culture.Garry L. Hagberg - 2014 - The Harvard Review of Philosophy 21:23-40.
    Wittgenstein’s scattered remarks on music, when brought together and then related to his similarly scattered remarks on culture, show a deep and abiding concern with music as a repository and conveyer of meaning in human life. Yet the conception of meaning at work in these remarks is not of a kind that is amenable to brief or concise articulation. This paper explores that conception, considering in turn the relational networks within which musical meaning emerges, what he calls a discernible (...)
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  39. Interpreting music: Beyond Platonism.Otavio Bueno - unknown
    Central to the philosophical understanding of music is the status of musical works. According to the Platonist, musical works are abstract objects; that is, they are not located in space or time, and we have no causal access to them. Moreover, only a particular physical occurrence of these musical works is instantiated when a performance ofthe latter takes place. But even if no performance ever took place, the Platonist insists, the musical work would still exist, since (...)
     
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  40.  59
    Neuronal symphonies: Musical improvisation and the centrencephalic space of functional integration.Mauro Maldonato, Alberto Oliverio & Anna Esposito - 2017 - World Futures 73 (8):491-510.
    Musical improvisation is a sophisticated activity in which a performer realizes, real-time, melodic, and rhythmic sequences in harmony with those from other musicians. The study of musical improvisation helps one to understand not only the cognition of creativity, but also the complex neuronal basis of executive functions, the relation between conscious and unconscious action, and even more. So far, the prevailing models, founded on the brain imaging method, have focused on the connection between the cortical areas and their (...)
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  41. Music, mind, and morality: Arousing the body politic.Philip Alperson & Noël Carroll - 2008 - Journal of Aesthetic Education 42 (1):1-15.
    In lieu of an abstract, here is a brief excerpt of the content:Music, Mind, and Morality:Arousing the Body PoliticPhilip Alperson (bio) and Noël Carroll (bio)I. IntroductionIf like Aristotle one agrees that the responsibility of philosophy is to offer as comprehensive a picture of phenomena as possible, then one must admit that sometimes the methods and goals of analytic philosophy stand in the way of getting the job done properly; they may even distort one's findings. This is not said in order (...)
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  42.  33
    Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical Experience (review).David Baker - 2010 - Philosophy of Music Education Review 18 (2):204-208.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical ExperienceDavid BakerHarold E. Fiske, Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical Experience. (Lewiston, New York: Edwin Mellen Press, 2008).Building on several earlier publications on music and the mind (1990, 1993, 1996, 2004), Harold Fiske offers Understanding Musical Understanding. This is a well-referenced piece that outlines the thinking of (...)
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  43. Rhinestone Cowboys: The Problem of Country Music Costuming.Evan Malone - forthcoming - Journal of Aesthetics and Art Criticism.
    Country music critics and scholars have noticed an apparent contradiction between the practical identity of country music and the image of the male country singer as the 'rhinestone cowboy'. In this case, the problem is one of how we can make sense of the rural, working-class, ruggedly masculinity persona common to the genre with its elaborately embroidered, brightly colored, and highly embellished male fashion. The intractability of this problem has led some to argue that the simplest solution is to (...)
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  44.  15
    Music for All or Partisan Advocacy? Exploring Socialized Epistemologies.J. Paul Louth & Lauren Kapalka Richerme - 2023 - Philosophy of Music Education Review 31 (2):136-154.
    When novice music educators abandon their expressed dedication to forward-looking ideas like equity, epistemological distinctions between belief and knowledge, or lack of such distinctions, may influence such action. Political philosopher Russell Hardin argued that it makes sense for people to hold false, conflicting, and even extreme beliefs. Drawing on his work, we consider how social influences may encourage music educators to adopt a view of knowledge as the acquisition of information that is useful rather than truthful in the (...) of being falsifiable and supported by evidence. First, we examine how teachers’ everyday socialization may cause them to abandon practices associated with “music for all,” an ill-defined ideal—officially adopted by the (US) National Association for Music Education—that we problematize here. Second, we consider the effects of broader polarization on socialized epistemology, including amplifying effects of technology, which may contribute to an in-group versus out-group mentality. Third, we investigate how advocacy related endeavors as well as bounded social circles in both K-12 music education and collegiate music teacher education may further solidify extreme beliefs within the profession. Finally, we consider implications for practice, including providing tools for more inclusive and open-minded advocacy efforts and some version of profession-wide “music for all” that focuses on socialization and recognition. (shrink)
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  45.  38
    Musical expression and performance.Carl Humphries - unknown
    This study examines the philosophical question of how it is possible to appreciate music aesthetically as an expressive art form. First it examines a number of general theories that seek to make sense of expressiveness as a characteristic of music that can be considered relevant to our aesthetic appreciation of the latter. These include accounts that focus on resemblances between music and human behaviour or human feelings, on music's powers of emotional arousal, and on various ways in which music (...)
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  46.  26
    Article: Music and Structure in Roman Comedy.Timothy J. Moore - 1998 - American Journal of Philology 119 (2):245-273.
    In lieu of an abstract, here is a brief excerpt of the content:Music and Structure in Roman ComedyTimothy J. MooreWell over a century ago, Friedrich Ritschl and Theodor Bergk independently reached the same conclusion regarding the markings of DV and C in some of the manuscripts of Plautus: the initials stand for diverbium and canticum; and their association, respectively, with scenes in iambic senarii and scenes in other meters implies that in Roman comedy passages in iambic senarii were unaccompanied, whereas (...)
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  47. The Moving Mirrors of Music.A. E. Denham - 1999 - Music & Letters 80 (3):411-432.
    'PERHAPS WHAT is inexpressible (what I find mysterious and am not able to express)', wrote Wittgenstein, 'is the background against which whatever I could express has its meaning'. Wittgenstein's remark is a useful reminder to all who attempt to write about the nature and the value of art, for there our powers of expression often seem inadequate to the phenomena we aim to describe. In such cases it is natural to direct attention to the 'background' of aesthetic experience itself. In (...)
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  48. Listening to Music Together.N. Zangwill - 2012 - British Journal of Aesthetics 52 (4):379-389.
    I discuss the social dimension of musical experience. I focus on the question of whether there is joint musical listening. One reason for this focus is that Adorno and those in his tradition give us little in the way of an understanding of what the social dimension of musical experience might be. We need a proper clear conception of the issue, which the issue of joint experience yields. I defend a radically individualistic view, while conceding that such (...)
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  49.  15
    The body in sound, music and performance: studies in audio and sonic arts.Linda O'Keeffe & Isabel Nogueira (eds.) - 2022 - New York: Routledge, Taylor & Francis Group.
    The Body in Sound, Music and Performance brings together cutting-edge contributions from women working on and researching contemporary sound practice. This highly interdisciplinary book features a host of international contributors and places emphasis on developments beyond the western world, including movements growing across Latin America. Within the book, the body is situated as both the site and centre for knowledge making and creative production. Chapters explore how insightful theoretical analysis, new methods, innovative practises, and sometimes within the socio-cultural conditions (...)
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  50.  51
    Two Debates about Absolute Music.Hannah Ginsborg - 2017 - British Journal of Aesthetics 57 (1):77-80.
    Mark Evan Bonds makes a distinction between two concepts of absolute music: as repertory, and as ‘regulative concept’. This paper explores the distinction, and distinguishes further two debates associated with these two concepts: one about the value of absolute music in the repertory sense, the other about the extent to which music is ‘absolute’ in the sense of lacking expressive or representational content. It ends with a proposal about how reflection on the first debate can help provide a (...)
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