Thematische Bibliographien / Music and philosophy

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „Music and philosophy“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Music and philosophy"

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Sunarto, Sunarto. „Pemikiran Hanslick tentang Estetika dan Kritik Musik“. PROMUSIKA 3, Nr. 2 (23.11.2015): 163–73. http://dx.doi.org/10.24821/promusika.v3i2.1702.

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Approaching the mid‐19th century began the aesthetics of music, especially Western music aesthetics as an independent science apart from philosophy. In the development of musical aesthetics are always closely related between philosophy and the philosopher. Discussion on the aesthetics of music can not be separated from some of the theories that have been developed by philosophers. Eduard Hanslick is a figure in the history of musical aesthetics of music included in ʺGroup Autonomisʺ. This group believes that music is a world of sounds organized and stand alone without any. For him and the group, the music is not the language of emotions or feelings. He then gave a sharp criticism against some composers include Richard Wagner and Anton Bruckner as a representative ʺGroup Heteronomisʺ who argue that music can be a means of expressing feelings, expressing ideas, or a certain atmosphere. According to the aesthetics of music is ʺabsoluteʺ (to the music itself). With absolutismenya, Hanslick criticized mercilessly composers heteronomis deems to have abused the music to be ʺprogramaʺ (music for something) ‐which he regarded as ʹcheap musicʹ. The rivalry between the two camps stream music aesthetics was known as The Great Debate.
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Bagaskara, Akbar, Kun Setyaning Astuti und Umilia Rokhani. „Filsafat musik: Memahami esensi, perkembangan, dan relevansinya“. Imaji: Jurnal Seni dan Pendidikan Seni 22, Nr. 1 (28.04.2024): 71–78. http://dx.doi.org/10.21831/imaji.v22i1.71954.

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Tujuan dari penelitian ini adalah untuk menyelidiki serta menguraikan ilmu filsafat musik dari banyak dimensi, mulai dari pendefinisian esensinya hingga perkembangan keilmuannya sepanjang sejarah dan relevansinya di era kontemporer. Metode penelitian yang digunakan dalam peneltian kali ini adalah metode kualitatif, dengan ciri lebih mengedepankan pada analisis fenomena sosial budaya yang luas dan mendalam. Teori analisis data yang diaplikasikan pada penelitian ini adalah model dari Miles dan Huberman dengan konsep empat tahapan analisis data yaitu pengumpulan data, reduksi data, penyajian data dan kesimpulan. Adapun temuan dari peneltian ini adalah (1) filsafat musik bukan hanya sekedar analisis teoritis bentuk belaka, tetapi juga berkaitan dengan makna mendalam musik pada konteks yang lebih luas yaitu, sosial, budaya, individual maupun kelompok yang menyertainya. (2) Sejarah dari filsafat musik menggambarkan bagaimana perjalanan atau evolusi dari pemikiran tentang musik dari masa ke masa yang akhirnya memberikan pemahaman utuh terhadap fenomena musik era saat ini. (3) Pada era kontemporer analisis wacana filsafat musik condong kepada masalah-masalah seperti tren musik modern, teknologi yang menyertainya dan dampak perubahannya terhadap masyarakat global. (4) Urgensi dari mempelari filsafat musik sangat erat kaitannya pada, dihasilkannya keterbukaan wawasan mendalam tentang musik, yang pada akhirnya akan membuat siapapun yang mendalaminya akan lebih menghargai musik dan memiliki daya analisis kritis lebih pada fenomena musik di sekitar. Kata kunci: Filsafat musik, esensi, perkembangan, relevansi Philosophy of music: Understanding its essence, development, and relevance AbstractThe purpose of this study is to investigate and describe the science of music philosophy from many dimensions, from defining its essence to its scientific development throughout history and its relevance in the contemporary era. The research method used in this research is a qualitative method, characterized by prioritizing the analysis of broad and in-depth socio-cultural phenomena. The theory of data analysis applied in this research is the model of Miles and Huberman with the concept of four stages of data analysis, namely data collection, data reduction, data presentation and conclusions. The findings of this research are (1) the philosophy of music is not just a theoretical analysis of form, but also related to the deep meaning of music in a broader context, namely, social, cultural, individual and group that accompanies it. (2) The history of the philosophy of music illustrates how the journey or evolution of thinking about music from time to time which ultimately provides a complete understanding of the phenomenon of music in the current era. (3) In the contemporary era, the analysis of music philosophy discourse leans towards issues such as modern music trends, the technology that accompanies them and the impact of their changes on global society. (4) The urgency of studying the philosophy of music is closely related to, the resulting openness to deep insight into music, which will ultimately make anyone who deepens it will appreciate music more and have more critical analysis power on the phenomenon of music around. Keywords: Philosophy of music, essence, development, relevance
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Nicholls, Tracey. „Music and Philosophy“. Symposium 11, Nr. 2 (2007): 476–79. http://dx.doi.org/10.5840/symposium200711246.

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Andriopoulos, D. Z. „Philosophy and Music“. Philosophical Inquiry 32, Nr. 3 (2010): 93–108. http://dx.doi.org/10.5840/philinquiry2010323/46.

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Levinson, Jerrold. „Philosophy and Music“. Topoi 28, Nr. 2 (08.08.2009): 119–23. http://dx.doi.org/10.1007/s11245-009-9055-6.

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Kertz-Welzel, Alexandra. „What Kant Really Said: Facts and Fiction in International Music Education Philosophy“. Philosophy of Music Education Review 32, Nr. 1 (März 2024): 16–33. http://dx.doi.org/10.2979/pme.00004.

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Abstract: In international philosophy of music education, there are some philosophers who are important points of reference. One of them is the German Immanuel Kant (1724–1804). While his philosophy is complex, an oversimplified understanding of his ideas turned him into the “bad guy” of international music education philosophy, being in favor for instance of art for its own sake. His assumed ideas are thought to be the foundation of aesthetic education, in opposition to music education concepts promoting praxis and social change. The prominent role Kant plays leads to questions: Can an eighteenth-century philosopher be blamed for twentieth-century music education concepts and their supposed aberrations? And what did Kant really say? By addressing these and related questions, this paper offers fresh perspectives on Kant’s original concept and the role his assumed ideas play in international music education philosophy, aiming at revising some discourses around them. Furthermore, Kant as a case in point, can lead to general considerations about the function of philosophy in music education philosophy.
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Ćuk, Barbara. „Hrotsvit of Gandersheim and Philosophy“. Nova prisutnost XXII, Nr. 1 (15.03.2024): 29–43. http://dx.doi.org/10.31192/np.22.1.2.

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Hrotsvit of Gandersheim sees music and arithmetic as parts of philosophy. Presenting the motives for engaging in literary creativity and describing her writing process, she says that by glorifying God with her work, she incorporated threads and pieces of the ancient mantle of philosophy into it. The paper aims to provide insight into Hrotsvit’s knowledge of philosophy and the specificities and significance of her approach to the contents of the disciplines of arithmetic and music (in particular to musica humana and the harmony of a world) in her plays Paphnutius and Sapientia, to analyze different elements of her authorial self-perception and to emphasize the similarities between her and Augustine’s understanding of music, and the role of certain types of writing. The paper concludes that Hrotsvit incorporated her knowledge and understanding of ancient and medieval theories of music and numbers into her plays uniquely, showing originality in their interpretation and merging them with everyday moral life and education. In this way, the rarely treated philosophical elements of her oeuvre are presented and evaluated.
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Haines, John, und Patricia DeWitt. „JOHANNES DE GROCHEIO AND ARISTOTELIAN NATURAL PHILOSOPHY“. Early Music History 27 (Oktober 2008): 47–98. http://dx.doi.org/10.1017/s0261127908000284.

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Johannes de Grocheio is best known today primarily for the fact that he wrote about secular monophony, a subject practically ignored by previous music writers. In Grocheio’s only surviving treatise, which modern scholarship has christened De musica (it is actually untitled in the manuscripts), he provides an unparalleled witness to Parisian musical life around 1300 through a wide-ranging classification of musical performances. The treatise’s tantalisingly realistic observations have been by far the most discussed aspect of De musica in over a century of modern scholarship ranging from an early landmark critical edition to recent postmodern readings. However, for those intent on discovering thirteenth-century performance practice, Grocheio has been as much a musicological frustration as a delight. The most egregious problem is that he appears not to describe some of his musical examples accurately. What has been lost in a great deal of this discussion is the extent to which Grocheio’s unique perspective shapes his discussion of music.
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Espiña, Yolanda. „Presentation – Philosophy of Music“. Philosophy of Music 74, Nr. 4 (30.12.2018): 911–16. http://dx.doi.org/10.17990/rpf/2018_74_4_0911.

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Sulka, Emily. „Shakespeare's Philosophy of Music“. Musical Offerings 8, Nr. 2 (2017): 41–50. http://dx.doi.org/10.15385/jmo.2017.8.2.1.

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Dissertationen zum Thema "Music and philosophy"

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Eiholzer-Silver, Hubert. „Understanding music : problems in the philosophy of music“. Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334912.

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Horsley, Joshua Robert. „Music as pure duration : a dialogue between music and philosophy“. Thesis, University of Central Lancashire, 2018. http://clok.uclan.ac.uk/24003/.

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Music as Pure Duration: a dialogue between music and philosophy is a multi-method Practice Based Research project that contributes to dialogue between music and philosophy within the field of music. The thesis is comprised of a compositional portfolio and written component. It places hybrid of New Music and Electroacoustics in dialogue with Metaphysics. By interpreting Bergson’s temporality and Husserl’s consciousness of internal time through music, it questions how temporality is distinct in music compared to physical objects and sound. Chapter One defines the study. Chapter Two focuses on the composition of Sedemus, reading the design schematic of a chair as instruction for music. It discusses the relationship between spatiality and temporality, accuracy and interpretation. Chapter Three critiques Sedemus, leading to the dialogic composition of Sedere Audire. It differentiates analytical knowledge from intuitive knowledge in the context of music and sound. Chapter Four offers music as a metaphysical concept, realized as Day Born. It investigates the heard and the audible. Underpinned by Husserl’s treatment of Phantasy, Image Consciousness, and Memory, it is succession, simultaneity, and continuity that appear critical to the differentiation of non-audio and audio entities. In the context of Hermann’s definition, Chapter Five focuses on analytical accuracy in the sonification of a cuboid and uncovers a tension between validity and aesthetics. Chapter Six presents compositions informed by the concepts of unfolding (in Struck), differentiating analysis and intuition (in Discern), and piano as object or musical instrument (in Reduce). Chapter Seven summarises the research findings and points towards continuing research. Sedemus, Sedere Audire, Day Born, and the sonifications demonstrate new insights gained through practical and philosophical analysis whilst Struck, Discern, and Reduce demonstrate tacit and intuitive knowledge. This research is intended to be of interest to musicians, especially those seeking to embed their music practice within philosophy. It is expected that philosophers with specific interest in temporality, Bergson, or Husserl, may also find interest.
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Erickson, David Allen. „Language, ineffability and paradox in music philosophy /“. Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2111.

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Vogelgesang, Anna Ruye. „An Investigation of Philosophy and Practice: Inclusion of World Musics in General Music Classes“. Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554376600823459.

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Johnson, Nicholas. „Musica Caelestia: Hermetic Philosophy, Astronomy, and Music at the Court of Rudolf II“. The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354712996.

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Williams, Benjamin John. „Music Composition Pedagogy: A History, Philosophy and Guide“. The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274787048.

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Sharma, B. R. „Adorno's 'Philosophy of Modern Music' : music in the age of mechanical reproduction“. Thesis, University of Edinburgh, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.661791.

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Theodor Adorno's depiction of Stravinsky and Schoenberg in the Philosophy of Modern Music has been a source of much controversy. Many have criticised the Frankfurt Scholar for his biased portrayals. A common tendency shared among commentators has been to interpret Adorno's text literally. Yet upon closer examination, one sees that Adorno's intention was to write not only a literal text, but also a poetic text. Following in the tradition of Karl Kraus, and Walter Benjamin, Adorno's text is laden with symbols, metaphors, allusions and allegories that encircle socio-cultural and historical issues. Stravinsky and Schoenberg are often caricatures, and their works a means to discuss kitsch and avant-garde art during the rise of fascism in Germany. Even Adorno's portrayal of art in Germany is symbolic; his insights into state capitalist culture during World-War Two are meant to act as an acidic and prophetic analysis of monopoly capitalist culture in the post-World-War II era. Adorno's Philosophy of Modern Music was meant to be a Flaschenpost, a 'message in a bottle', designed to remain rebarbative through time. This thesis suggests that when one applies his insights to late capitalist society, they seem more relevant than ever.
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Sharma, Bhesham R. „The 'Philosophy of Modern Music' : music in the age of mechanical reproduction“. Thesis, University of Edinburgh, 1997. http://hdl.handle.net/1842/21524.

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Theodor Adorno's depiction of Stravinsky and Schoenberg in the 'Philosophy of Modern Music' has been a source of much controversy. Many have criticised the Frankfurt Scholar for his biased portrayals. A common tendency shared among commentators has been to interpret Adorno's text literally. Yet upon closer examination, one sees that Adorno's intention was to write not only a literal text, but also a poetic text. Following in the tradition of Karl Kraus, and Walter Benjamin, Adorno's text is laden with symbols, metaphors, allusions and allegories that encircle socio-cultural and historical issues. Stravinsky and Schoenberg are often caricatures, and their works a means to discuss kitsch and avant-garde art during the rise of fascism in Germany. Even Adorno's portrayal of art in Germany is symbolic; his insights into state capitalist culture during World-War Two are meant to act as an acidic and prophetic analysis of monopoly capitalist culture in the post- World-War II era. Adorno's 'Philosophy of Modern Music' was meant to be a Flaschenpost, a 'message in a bottle', designed to remain rebarbative through time. This thesis suggests that when one applies his insights to late capitalist society, they seem more relevant than ever.
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Bates, Vincent Cecil. „Moral Concepts in the Philosophy of Music Education“. Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1082%5F1%5Fm.pdf&type=application/pdf.

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Razumovskaya, Maria. „Heinrich Neuhaus : aesthetics and philosophy of an interpretation“. Thesis, Royal College of Music, 2014. http://researchonline.rcm.ac.uk/355/.

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This thesis investigates one of the key figures of Russian pianism in the twentieth century, Heinrich Gustavovich Neuhaus (1888 - 1964). Although Neuhaus is known, particularly in the West, as an important pedagogue of the Moscow Conservatory rather than a performing artist in his own right, this thesis seeks to address the tension between Neuhaus's identities as a pedagogue and his overshadowed conception of himself as a performer - thus presenting a fuller understanding of his specific attitude to the task of musical interpretation. The reader is introduced to aspects of Neuhaus's biography which became decisive factors in the formation of his key aesthetic, philosophical, pedagogical and performative beliefs. The diverse national influences in Neuhaus's upbringing - from his familial circumstances, European education and subsequent career in Russia - are investigated in order to help locate Neuhaus within the wider contexts of Russian and Central European culture at the turn of the nineteenth and twentieth centuries. In addition, this introduction will highlight ways in which Neuhaus's national identity has been oversimplified in recent literature by both Russian and non-Russian authors. Whilst this thesis draws on a range of contemporaneous and recent international sources throughout its investigation, it presents a substantial amount of Russian-language material that has previously been unavailable in an English translation: this includes many writings and articles by Heinrich Neuhaus, his colleagues and the leading musicologists and critics of his time. The core of the thesis traces Neuhaus's personal philosophical approach to the act of performance and explores the impact it had on his interpretations of Beethoven and Chopin. This will show that despite aspiring to a modern, Urtext-centred approach and sensibility to the score, Neuhaus's Romantic subjectivity meant that he was unafraid of making assumptions and decisions which often misinterpreted or transformed the image of the composer to reflect his own artistic identity. Thus, the investigation of Heinrich Neuhaus as a performing artist, alongside his role as a pedagogue, presents a powerful model of interpretation as a creative process, from which performers today can learn.
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Bücher zum Thema "Music and philosophy"

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Sanyal, Ritwik. Philosophy of music. Bombay: Somaiya Publications, 1987.

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Sanyal, Ritwik. Philosophy of music. Bombay: Somaiya Publications, 1987.

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Marcel, Gabriel. Music and philosophy. Milwaukee, WI: Marquette University Press, 2005.

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Neuenschwander, Erwin, und Laurence Bouquiaux, Hrsg. Science, Philosophy and Music. Turnhout: Brepols Publishers, 2002. http://dx.doi.org/10.1484/m.dda-eb.5.106675.

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Bose, Hiren. Philosophy in Indian music. Calcutta: Rupa & Co., 1988.

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Madell, Geoffrey. Philosophy, music, and emotion. Edinburgh: Edinburgh University Press, 2002.

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Campbell, Edward C. Boulez, music and philosophy. New York: Cambridge University Press, 2010.

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Hayes, Tina. Adorno's Philosophy of Music. Dublin: University College Dublin, 1996.

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Adorno, Theodor W. Philosophy of modern music. London: Sheed & Ward, 1987.

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Erwin, Neuenschwander, und Bouquiaux Laurence, Hrsg. Science, philosophy, and music. Turnhout, Belgium: Brepols, 2002.

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Buchteile zum Thema "Music and philosophy"

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Clancy, Martin. „Philosophy“. In Artificial Intelligence and Music Ecosystem, 165–81. London: Focal Press, 2022. http://dx.doi.org/10.4324/9780429356797-15.

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Lee, Sang-Hie, Lindsey Jones und Michael S. Zelenak. „Philosophy II“. In Scholarly Research in Music, 50–62. 2. Aufl. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003153924-5.

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Lee, Sang-Hie. „Philosophy I“. In Scholarly Research in Music, 36–49. 2. Aufl. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003153924-4.

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Mazzola, Guerino, Alex Lubet, Yan Pang, Jordon Goebel, Christopher Rochester und Sangeeta Dey. „Time in Philosophy“. In Computational Music Science, 13–31. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-85629-8_2.

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Arabatzis, George, Maarten J. F. M. Hoenen, Vasileios Syros, Harro Höpfl, Lidia Lanza, Antonella Straface, Mikko Yrjönsuuri et al. „Music, Medieval“. In Encyclopedia of Medieval Philosophy, 818–23. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-1-4020-9729-4_345.

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McCarthy, T. J. H. „Music, Medieval“. In Encyclopedia of Medieval Philosophy, 1253–60. Dordrecht: Springer Netherlands, 2020. http://dx.doi.org/10.1007/978-94-024-1665-7_345.

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de Alencar, Marcelo Sampaio. „Elements and Philosophy of Music“. In Music Science, 1–19. New York: River Publishers, 2022. http://dx.doi.org/10.1201/9781003338895-1.

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Hall, Robert W. „Schopenhauer's Philosophy of Music“. In A Companion to Schopenhauer, 163–77. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444347579.ch11.

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Jackson, William J. „Indian philosophy of music“. In History of Indian Philosophy, 467–75. 1 [edition]. | New York : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315666792-47.

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Arom, Simha, und Denis-Constant Martin. „Music, Philosophy, and Culture“. In Encyclopedia of African Religions and Philosophy, 475–78. Dordrecht: Springer Netherlands, 2021. http://dx.doi.org/10.1007/978-94-024-2068-5_261.

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Konferenzberichte zum Thema "Music and philosophy"

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Shermam Morais Vieira, Ariane, und Rosana Ribeiro Felisberto. „Law and Music: human rights protection and the song “Dom Quixote”“. In XXVI World Congress of Philosophy of Law and Social Philosophy. Initia Via, 2015. http://dx.doi.org/10.17931/ivr2013_sws50_01.

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GROZAVU, Daniela Monica. „Specific aspects of the relationship philosophy – music pedagogy“. In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v2.24-25-03-2023.p314-317.

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In musical pedagogy, a series of fundamental notions and philosophical-aesthetic principtes have obtained its place and importance not only from the theoretical point of view, but also from the practical point of view. In this respect, we would like to motion the fact that in the current curriculum for the discipline Musical Education in the Republic of Moldova, emphasis was placed on the inter-relation of art with the human life and his artistic attitude towards the world, on directing the students` thinking towards the awareness of the enigmas of the power of transformation of music and finally, towards the perception of the nature of beauty both in art, as well as in life. Lately, it is attested that, as a result of the interaction between musical pedagogy and philosophy, these two fields are completed with new contents, in witch the problem of forming the worldview of the personality of the teacher and of the student acquire a dominance of great importance. The beliefs about the world and of the primary school teacher, who teaches musical contents both in Music Education lessons and in other school subjects-in integrated lessons, can be considered as a special important feature of his personality and, to a certain entent, universal-as the nucleus of his general culture-human and professional.
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Raimi, Sunaj. „Metaphysical dialogue between philosophy and music in ancient Greek“. In University for Business and Technology International Conference. Pristina, Kosovo: University for Business and Technology, 2015. http://dx.doi.org/10.33107/ubt-ic.2015.4.

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Petinova, M. „Communication And Time In The Philosophy Of Music A. Losev“. In 11th International Scientific and Theoretical Conference - Communicative Strategies of Information Society. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.03.02.37.

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Didenko, Natalia. „Music Time: from Intonation to Style Philosophy and Aesthetic Analysis“. In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.49.

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Zhang, Shan. „Classification of Music Space from the Perspective of Information Philosophy“. In IS4SI Summit 2023. Basel Switzerland: MDPI, 2023. http://dx.doi.org/10.3390/cmsf2023008018.

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Long, Zhaoming. „Philosophy of Music Education: Theoretical Growth Points of Chinese Localized Thoughts“. In 2014 International Conference on Education Technology and Social Science. Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icetss-14.2014.35.

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Dalal, Medha, Adam Carberry, Derek Warmington und Richard Maxwell. „A Case Study Exploring Transfer of Pedagogical Philosophy from Music to Engineering“. In 2020 IEEE Frontiers in Education Conference (FIE). IEEE, 2020. http://dx.doi.org/10.1109/fie44824.2020.9274128.

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Khoo, Eng Tat, Roshan Lalintha Peiris und Matthias Rauterberg. „3D Guqin: Digital Playground to Explore Music that Embodies Chinese Culture and Philosophy“. In 2011 Second International Conference on Culture and Computing (Culture Computing). IEEE, 2011. http://dx.doi.org/10.1109/culture-computing.2011.41.

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Hadzhosa, D. R. „Cultural aspects of Guqin tradition (古琴): language, music, philosophy and their profound relationship“. In VІІ КОНГРЕС СХОДОЗНАВЦІВ. Liha-Pres, 2023. http://dx.doi.org/10.36059/978-966-397-356-2-9.

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