Results for 'philosophy of music,'

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  1.  23
    Religious Philosophy and Music: Seeing the Religious Emotions in German and Austrian Art Songs From Bach and gounod's "Ave Maria".Wei Hou - 2023 - European Journal for Philosophy of Religion 15 (3):201-215.
    This article sheds light on the relationship between religious philosophy and music to emphasize the formulation of religious emotions in art songs. This study's theoretical framework is based on the "Theory of Religious Philosophy and Music" Using these concepts, this paper explores the religious feelings associated with German and Austrian Art Songs by Bach and Gounod's "Ave Maria." The religious emotions of connectedness with God, serenity and love, faith in the heavens and angels, and the assistance of Christ (...)
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  2. Philosophy and music.Jerrold Levinson - 2009 - Topoi 28 (2):119-123.
    This essay explores some aspects of the relation between philosophy and music. First, how music can inspire philosophy; second, how philosophy can inspire music. Mathematics as a middle term between music and philosophy, the idea of wholeness in a musical composition or a philosophical text, music as a mode of thought displaying traits such as logic, coherence, and sense—these are some ways in which music and philosophy may be seen to be connected. Also, composers sometimes (...)
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  3. The Routledge Companion to Philosophy and Music.Theodore Gracyk & Andrew Kania (eds.) - 2011 - New York: Routledge.
    _The Routledge Companion to Philosophy and Music_ is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of music music, philosophy and related disciplines _The Routledge Companion to Philosophy and Music_ is essential reading for anyone interested in philosophy, music and musicology.
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  4.  39
    “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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  5.  18
    Wittgenstein as Philosophical Tone-Poet: Philosophy and Music in Dialogue.Bla Szabados - 2014 - Amsterdam: Editions Rodopi.
    This book provides the first in-depth exploration of the importance of music for Ludwig Wittgenstein’s life and work. Wittgenstein’s remarks on music are essential for understanding his philosophy: they are on the nature of musical understanding, the relation of music to language, the concepts of representation and expression, on melody, irony and aspect-perception, and, on the great composers belonging to the Austrian-German tradition. Biography and philosophy, this work suggests that Wittgenstein was a composer of philosophy who used (...)
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  6.  43
    Otto Rudolph Ortmann, Music Philosophy, and Music Education.David J. Gonzol - 2004 - Philosophy of Music Education Review 12 (2):160-180.
    In lieu of an abstract, here is a brief excerpt of the content:Otto Rudolph Ortmann, Music Philosophy, and Music EducationDavid J. GonzolWhat is music? What should we teach when we teach music? How should we? In the early twentieth century, these most foundational questions relating to music education were addressed by the highly regarded, though less well known, educator and researcher, Otto Rudolph Ortmann. In 1922, he published an article in which he outlined a theory of musical experience, developing (...)
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  7.  61
    Philosophy, Music and Emotion.S. Davies - 2003 - Australasian Journal of Philosophy 81 (2):281-283.
    Book Information Philosophy, Music and Emotion. By Geoffrey Madell. Edinburgh University Press. Edinburgh. 2002. Pp. vii + 162. £40.
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  8.  49
    Music in German Philosophy: An Introduction edited by sorgner, stefan lorenz and oliver fürbeth.Hanne Appelqvist - 2012 - Journal of Aesthetics and Art Criticism 70 (2):245-247.
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  9. Music, philosophy, and modernity.Andrew Bowie - 2007 - New York: Cambridge University Press.
    Modern philosophers generally assume that music is a problem to which philosophy ought to offer an answer. Andrew Bowie’s Music, Philosophy, and Modernity suggests, in contrast, that music might offer ways of responding to some central questions in modern philosophy. Bowie looks at key philosophical approaches to music ranging from Kant, through the German Romantics and Wagner, to Wittgenstein, Heidegger and Adorno. He uses music to re-examine many current ideas about language, subjectivity, metaphysics, truth, and ethics, and (...)
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  10.  27
    The Scope Argument, MICHAEL O'ROURKE.Against Musical Ontology & Aaron Ridley - 2003 - Journal of Philosophy 100 (3).
  11.  29
    Boulez, Music and Philosophy.Edward Campbell - 2010 - New York: Cambridge University Press.
    While acknowledging that Pierre Boulez is not a philosopher, and that he is wary of the potential misuse of philosophy with regard to music, this study investigates a series of philosophically charged terms and concepts which he uses in discussion of his music. Campbell examines significant encounters which link Boulez to the work of a number of important philosophers and thinkers, including Adorno, Lévi-Strauss, Eco and Deleuze. Relating Boulez's music and ideas to broader currents of thought, the book illuminates (...)
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  12.  54
    Music in German Philosophy: An Introduction.Stefan Lorenz Sorgner, Oliver Furbeth & Susan H. Gillespie (eds.) - 2010 - Chicago: University of Chicago Press.
    Though many well-known German philosophers have devoted considerable attention to music and its aesthetics, surprisingly few of their writings on the subject have been translated into English. Stefan Lorenz Sorgner, a philosopher, and Oliver Fürbeth, a musicologist, here fill this important gap for musical scholars and students alike with this compelling guide to the musical discourse of ten of the most important German philosophers, from Kant to Adorno. _Music in German Philosophy_ includes contributions from a renowned group of ten scholars, (...)
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  13.  34
    Music, Philosophy, and Modernity.G. Dammann - 2008 - British Journal of Aesthetics 48 (4):459-461.
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  14.  14
    Music and the occult: French musical philosophies, 1750-1950.Joscelyn Godwin - 1995 - Rochester, N.Y.: University of Rochester Press.
    Occultism and esotericism flourished in 19th-century France as they did nowhere else. Many philosophers sought the key to the universe, and some claimed to have found it. In the unitive vision that resulted, music invariably played an important part.
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  15. Philosophy, music and emotion.Geoffrey Madell - 2002 - Edinburgh University Press.
    Philosophy, Music and Emotion explores two contentious issues in contemporary philosophy: the nature of music´s power to express emotion, and the nature of emotion itself. It shows how closely the two are related and provides a radically new account of what it means to say that music "expresses emotion." Geoffrey Madell maintains that most current accounts of musical expressiveness are fundamentally misguided. He attributes this fact to the influence of a famous argument of the nineteenth-century critic Hanslick, and (...)
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  16.  1
    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 (...)
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  17.  84
    Understanding music: philosophy and interpretation.Roger Scruton - 2009 - New York: Continuum.
    Following his celebrated book The Aesthetics of Music, Scruton explores the fundamental elements that constitute a great piece of music.
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  18. Feminist Imperative(s) in Music and Education: Philosophy, theory, or what matters most.Elizabeth Gould - 2011 - Educational Philosophy and Theory 43 (2):130-147.
    A historically feminized profession, education in North America remains remarkably unaffected by feminism, with the notable exception of pedagogy and its impact on curriculum. The purpose of this paper is to describe characteristics of feminism that render it particularly useful and appropriate for developing potentialities in education and music education. As a set of flexible methodological tools informed by Gilles Deleuze's notions of philosophy and art, I argue feminism may contribute to education's becoming more efficacious, reflexive, and reflective of (...)
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  19.  19
    Music and Philosophy: Contemporary Challenges.Marcin Rychter - 2019 - Eidos. A Journal for Philosophy of Culture 3 (3):1-4.
    The ties between music and philosophy are strong and venerable, as they date back to the very beginnings of the latter. According to the ancient tale, Pythagoras, when passing by a smithy one day, noticed that the hammers make sounds of different pitch and, more importantly, that some of the pitch combinations feel pleasant on the ear while the others sound rather harsh. Intrigued by this phenomenon, the ancient sage began to further investigate it with the so called monochord (...)
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  20.  25
    Greek Philosophy and Sacred Music.Johannes Quasten - 1941 - New Scholasticism 15 (3):255-260.
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  21. The Music in My Philosophy.Arnold Berleant - 2012 - ASA Newsletter.
    Music has not been as prominent in philosophy or as influential in aesthetics as the visual arts, at least in the Western tradition. Reflecting on my years of experience as both a philosopher and a musician, I am increasingly intrigued by speculating if and how today’s aesthetic discourse might have taken a different direction if music been its central focus. It is tempting to wonder whether, in some cases, the musical art may indeed have had an influence, even if (...)
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  22.  13
    Guest Editor’s Introduction: Music and Philosophy in Early China.So Jeong Park - 2017 - Dao: A Journal of Comparative Philosophy 16 (3):307-308.
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  23.  57
    Symposium: Philosophy, music education, and world engagement.Randall Everett Allsup, Estelle Ruth Jorgensen, Patrick K. Schmidt & Julia Koza - 2007 - Philosophy of Music Education Review 15 (2):143-144.
    In lieu of an abstract, here is a brief excerpt of the content:Extraordinary Rendition:On Politics, Music, and Circular MeaningsRandall Everett AllsupThe purpose of this symposium is to look at music, education, and politics. I will begin with an examination of how musical meanings are politically rendered, and how these understandings are attached to moral consequences. Highly resistant to classification, musical meanings are those things we come to understand about ourselves through music, as opposed to musical knowledge which is demonstrable know-how. (...)
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  24.  14
    Teaching and Learning Philosophy in the Music Education Doctoral Program.Gerard L. Knieter - 1991 - The Journal of Aesthetic Education 25 (3):259.
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  25.  41
    Good for what, good for whom?: Decolonizing music education philosophies.Deborah Bradley - 2012 - In Wayne D. Bowman & Ana Lucía Frega (eds.), The Oxford Handbook of Philosophy in Music Education. Oup Usa. pp. 409.
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  26. Music, philosophy, and cognitive science.Diana Raffman - 2011 - In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. New York: Routledge.
    Philosophers of music (and also music theorists) have recognized for a long time that research in the sciences, especially psychology, might have import for their own work. (Langer 1941 and Meyer 1956 are good examples.) However, while scientists had been interested in music as a subject of research (e.g., Helmholtz 1912, Seashore 1938), the discipline known as psychology of music, or more broadly cognitive science of music, came into its own only around 1980 with the publication of several landmark works. (...)
     
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  27.  16
    Music and Philosophy in the Roman Empire.Francesco Pelosi & Federico M. Petrucci (eds.) - 2020 - Cambridge University Press.
    Is music just matter of hearing and producing notes? And is it of interest just to musicians? By exploring different authors and philosophical trends of the Roman Empire, from Philo of Alexandria to Alexander of Aphrodisias, from the rebirth of Platonism with Plutarch to the last Neoplatonists, this book sheds light on different ways in which music and musical notions were made a crucial part of philosophical discourse. Far from being mere metaphors, notions such as harmony, concord and attunement became (...)
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  28. 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. 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 (...)
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  29.  52
    Philosophy in the School Music Program.Bennett Reimer - 2005 - Philosophy of Music Education Review 13 (2):132-135.
    In lieu of an abstract, here is a brief excerpt of the content:Philosophy in the School Music ProgramBennett ReimerWho is philosophy of music education for? Several groups of people immediately spring to mind. First, it is for those of us in music education who produce it and consume it as a major or important responsibility in our work—people like members of our Special Research Interest Group at MENC. Second, teachers of music education courses at the undergraduate and graduate (...)
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  30.  11
    Deep refrains: music, philosophy, and the ineffable.Michael Gallope - 2017 - Chicago: University of Chicago Press.
    Introduction -- Prelude: a paradox of the ineffable. Schopenhauer's deep copy ; The Platonic solutions ; Four dialectical responses (after Nietzsche) -- Bloch's tone. The tone ; The natural klang ; The expressive tone ; Bloch's magic rattle ; The tone's inner ineffability ; The event-forms ; A dialectical account of music history ; Utopian musical speech -- Adorno's musical fracture. Adorno's tone ; Adorno's conception of history ; The tendenz des materials ; Music's language-like ineffability ; The immanent critique (...)
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  31.  36
    Listening for utopia in Ernst Bloch's musical philosophy.Benjamin M. Korstvedt - 2010 - New York: Cambridge University Press.
    Bloch's Teppich : an initial approach -- On the genealogy of the Teppich metaphor before Bloch -- The conceptual constellation of Bloch's musical philosophy -- Entering Bloch's musical system -- Wagner's animal lyricism -- Bloch's vision of the armored men, or the limits of enlightenment -- The achievement of symphonic authenticity -- Epilogue : an atheism of presence and absence.
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  32.  88
    Music in Confucian and Neo-Confucian Philosophy.Kathleen Higgins - 1980 - International Philosophical Quarterly 20 (4):433-451.
    This article proposes to discuss the role of music within confucian philosophy as a whole and within neo-Confucian philosophy in particular. The discussion includes a consideration of the construction of chinese music; philosophical correlations drawn between musical elements and features of both macrocosm and microcosm; musical aesthetics in the confucian and neo-Confucian philosophical systems; and affinities between the nature of music and the broader outlook of confucian and neo-Confucian philosophy. The suggestion is made that these affinities help (...)
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  33. Music alone: philosophical reflections on the purely musical experience.Peter Kivy - 1990 - Ithaca: Cornell University Press.
    In the Essai sur Vorigine des langues (), Jean-Jacques Rousseau reports on an eighteenth-century curiosity that has, from time to time, fascinated musicians ...
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  34.  53
    Music, the arts, and ideas.Leonard B. Meyer - 1967 - Chicago: University of Chicago Press.
    The Postlude, written for this edition, looks back at the predictions made more than twenty-five years ago and speculates about what the coming decades may hold ...
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  35.  13
    Osip Mandelstam: Music as Philosophy.Polina S. Volkova - 2021 - Russian Studies in Philosophy 59 (2):146-153.
    This article addresses the issue of music in the works of Osip Mandelstam. Based on works of both Russian and international scholars, the author examines the markers for music as philosophy in Mand...
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  36. Music in Boethius and in Medieval Philosophy.Marcin Konik - 2006 - Archiwum Historii Filozofii I Myśli Społecznej 50.
    The most important medieval treaty concerning the theory of music is De institutione Musica by Boethius. In this work, he presented an idea of musica mundana, which had been a predominant metaphysical conception of music until 14th century, when it was criticized by Johannes de Grocheo. Nevertheless, some aspects of Boethian doctrine were repeated even in 16th century by some theorists.
     
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  37.  8
    Aesthetics East and West: philosophy, music and art.Hans Christian Günther (ed.) - 2017 - Nordhausen: Verlag Traugott Bautz.
    This volume contains the proceedings of a conference in Meran in October 2015 on intercultural aesthetics with the addition of some external contributions. Two general papers on the topic concerned (Ram Adhar Mall, Giusi Strumiello) are followed by contributions on music (H.-C. Günther on Mahler and on Busoni, Yoon Young Serena Kim on Yun Isang), Indian and Chinese art (Ram Adhar Mall, Harro von Senger, Gabriele Kiesewetter), urban planning (Thilo Hilpert) and film (Udo Steinbach). The contributions on art and urban (...)
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  38.  22
    Rocking and Reasoning: Randall Auxier’s Sharp Reflections on Rock Music, Philosophy and Life. [REVIEW]Crispin Sartwell - 2018 - Eidos. A Journal for Philosophy of Culture 2 (4):102-105.
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  39.  36
    Entanglement and Ecstasy in Dance, Music, and Philosophy: A Reply to Carrie Noland, Nancy S. Struever, and Thomas Rickert.Alva Noë - 2021 - Philosophy and Rhetoric 54 (1):63-80.
    ABSTRACT Dance and music serve in this essay to exemplify both the looping entanglement of art and life as well as the account of art and philosophy developed in Strange Tools. This essay replies to criticisms of Carrie Noland, Nancy S. Struever, and Thomas Rickert and also offers a briefer restatement of the general approach.
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  40.  10
    Studies in philosophy and psychology.Charles Edward Garman, James Hayden Tufts, Edmund Burke Delabarre, Frank Chapman Sharp, Arthur Henry Pierce & Frederick James Eugene Woodbridge (eds.) - 1906 - Boston and New York,: Houghton, Mifflin and company.
    Studies in philosophy: I. Tufts, J.H. On moral evolution. II. Willcos, W.F. The expansion of Europe in its influence upon population. III. Woods, R.A. Democracy a new unfolding of human power. IV. Sharp, F.C. An analysis of the moral judgment. V. Woodbridge, F.J.E. The problem of consciousness. VI. Norton, E.L. The intellectual element in music. VII. Raub, W.L. Pragmatism and Kantianism. VIII. Lyman, E.W. The influence of pragmatism upon the status of theology.--Studies in psychology: IX. Delabarre, E.B. Influence of (...)
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  41.  11
    La philosophie de la musique dans la dramaturgie antique: Formation et structure.Teddy Brunius - 1977 - Journal of Aesthetics and Art Criticism 35 (3):384-385.
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  42.  20
    Black Sabbath and philosophy: mastering reality.William Irwin (ed.) - 2012 - Malden, MA: Wiley.
    A philosophical look at heavy metal's dark masters of reality, Black Sabbath Black Sabbath is one of the world's most influential and enduring rock bands. Dubbed "the Beatles of heavy metal" by Rolling Stone, they helped to define a genre with classic songs like "Paranoid", "Iron Man", and "War Pigs", songs whose lyrics reveal hidden depth and philosophical insight. Their songs confront existential despair, social instability, political corruption, the horrors of war, and the nature of evil. This book explores the (...)
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  43. Against Musical Ontology.Aaron Ridley - 2003 - Journal of Philosophy 100 (4):203-220.
  44.  90
    Music, philosophy, and modernity (review). [REVIEW]Kareem Khalifa - 2009 - Journal of the History of Philosophy 47 (3):pp. 481-482.
    "Philosophy of music" is generally regarded as philosophical theorizing about music. Interpreting various German thinkers from the last three centuries through hermeneutical and neo-pragmatist lenses, Bowie reverses this order, focusing "on the philosophy which is conveyed by music itself" . In particular, Bowie uses music as a starting point for philosophical reflections on meaning and the role of philosophy in late modernity.Regarding meaning, Bowie uses ideas about music to argue that semantics should replace representation with expression, social (...)
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  45. Politics, philosophy, culture: interviews and other writings, 1977-1984.Michel Foucault - 1988 - New York: Routledge. Edited by Lawrence D. Kritzman.
    Politics, Philosophy, Culture contains a rich selection of interviews and other writings by the late Michel Foucault. Drawing upon his revolutionary concept of power as well as his critique of the institutions that organize social life, Foucault discusses literature, music, and the power of art while also examining concrete issues such as the Left in contemporary France, the social security system, the penal system, homosexuality, madness, and the Iranian Revolution.
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  46.  65
    Introducing Philosophy Through Pop Culture: From Socrates to South Park, Hume to House.William Irwin & David Kyle Johnson (eds.) - 2010 - Malden, MA: Wiley-Blackwell.
    What can _South Park_ tell us about Socrates and the nature of evil? How does _The Office_ help us to understand Sartre and existentialist ethics? Can _Battlestar Galactica_ shed light on the existence of God? _Introducing Philosophy Through Pop Culture_ uses popular culture to illustrate important philosophical concepts and the work of the major philosophers With examples from film, television, and music including _South Park_, _The Matrix_, _X-Men_, _Batman_, _Harry Potter, Metallica_ and _Lost,_ even the most abstract and complex (...)
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  47.  31
    What is Philosophy?Janis Tomlinson & Graham Burchell Iii (eds.) - 1994 - Cambridge University Press.
    Called by many France's foremost philosopher, Gilles Deleuze is one of the leading thinkers in the Western World. His acclaimed works and celebrated collaborations with Félix Guattari have established him as a seminal figure in the fields of literary criticism and philosophy. The long-awaited publication of _What is Philosophy?_ in English marks the culmination of Deleuze's career. Deleuze and Guattari differentiate between philosophy, science, and the arts, seeing as means of confronting chaos, and challenge the common view (...)
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  48.  66
    Reflections on futures for music education philosophy.Estelle Ruth Jorgensen - 2006 - Philosophy of Music Education Review 14 (1):15-22.
    In lieu of an abstract, here is a brief excerpt of the content:Reflections on Futures for Music Education PhilosophyEstelle R. JorgensenIn 1990, when I convened the first International Symposium for the Philosophy of Music Education at Bloomington, Indiana, there was one dominant philosophy of music education in the United States and another was about to make its appearance. The five succeeding symposia (Toronto, Canada, in 1994, led by David Elliott; Los Angeles, United States, in 1997, led by Anthony (...)
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  49.  38
    Metropolitan Rhythms: A Preface to a Musical Philosophy for the New World.Peter Murphy - 1999 - Thesis Eleven 56 (1):81-105.
    The most important structural feature of the music of the New World is its often-time polyrhythmic and polymetrical character. This is also a key to unlocking the nature of social form and democratic persona in the diasporic and settler metropolises of the New World. In such settings, composers and musicians working with simultaneous temporalities, lines, groups, textures and characters offer intimations of a just totality for culturally fragmented societies.
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  50.  6
    Blues - Philosophy for Everyone: Thinking Deep About Feeling Low.Jesse R. Steinberg, Abrol Fairweather & Bruce Iglauer - 2012 - Wiley.
    The philosophy of the blues From B.B. King to Billie Holiday, Blues music not only sounds good, but has an almost universal appeal in its reflection of the trials and tribulations of everyday life. Its ability to powerfully touch on a range of social and emotional issues is philosophically inspiring, and here, a diverse range of thinkers and musicians offer illuminating essays that make important connections between the human condition and the Blues that will appeal to music lovers and (...)
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