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Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Music – Philosophy and aesthetics.'
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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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Magdalena, Elsa, Destri Natalia, Andry Pranata, and Nicolhas Jurdy Wijaya. "Filsafat dan Estetika Menurut Arthur Schopenhauer." Clef : Jurnal Musik dan Pendidikan Musik 3, no. 2 (December 31, 2022): 61–77. http://dx.doi.org/10.51667/cjmpm.v3i2.1111.
Aesthetics is a branch of philosophy, which specifically discusses beauty and taste, how they can be formed, and how they can be enjoyed. Beauty is not only about things that can be seen, but also about things that can be heard. Depending on the assessment objectively and subjectively. Music also has aesthetic value. It depends on what theory is used to judge the beauty of the music. This research uses descriptive-qualitative with a literature approach. In this case, it is not only about aesthetics, but also literature on music, and philosophers who discuss aesthetic philosophy.
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Rowe, M. W. "Aesthetics and Music." British Journal of Aesthetics 49, no. 3 (June 10, 2009): 313–14. http://dx.doi.org/10.1093/aesthj/ayp028.
Šuvaković, Miško. "Critical Questiones About Deconstrution or About De-Centring Of The Relation Between Philosophy And Music." Musicological Annual 41, no. 2 (December 1, 2005): 71–80. http://dx.doi.org/10.4312/mz.41.2.71-80.
Entirely dissimilar endeavours of problematizing a canonic positioning of music, musicology, aesthetics and philosophy through self-comprehensiveness of a piece-as-a-source hoe et tunc, have led to criticism ar deconstruction of 'self-comprehensiveness' and 'objective autonomy' of music as an art, and of a music piece as a carrier or a centred source of music as an art. Those scarce approaches can be specified from Adorno's contextualization in critical theory, Jacques Attali's developing the theory of exchange, to the New Musicology critiques oriented towards studies of culture, such as those of Richard Leppert, Susan McClary or Rose Rosengard Subotnik, which emphasize autonomy of music, or can be recognized in the psychoanalytical theorization of materialistic functions/effects of music and opera, such as of Mladen Dolar and Slavoj Žižek. From the teachings on deconstruction of the philosopher Jacques Derrida, directly ar indirectly entirely different approaches and applications are drawn, concerning hybrid and plural acts of interpretation of the canonic positioning of music, musicology, aesthetics and philosophy. In the further text I shall dwell on identifying and interpreting of a problem-oriented approach to the canonic relation of music, musicology, aesthetics and philosophy.
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Levinson, Jerrold, and Roger Scruton. "The Aesthetics of Music." Philosophical Review 109, no. 4 (October 2000): 608. http://dx.doi.org/10.2307/2693633.
Bidney, Martin. "The Aesthetics of Music." International Studies in Philosophy 36, no. 1 (2004): 289–90. http://dx.doi.org/10.5840/intstudphil200436160.
Oliva, Stefano. "Risonanze della Teoria della Formatività di Luigi Pareyson nell’Estetica Musicale Contemporanea." Philosophy of Music 74, no. 4 (December 30, 2018): 1077–92. http://dx.doi.org/10.17990/rpf/2018_74_4_1077.
In spite of its limited influence on Italian Aesthetics, Luigi Pareyson’s Aesthetics. Theory of formativity is often cited in the contemporary debate about Aesthetic of music. In this paper I will present the context and reception of Pareyson’s theory of formativity, one of the main post-Crocian aesthetic theories. Then, I will introduce some of the key concepts of Pareyson’s Aesthetics as person, form and interpretation; at last, I will show the relevance of these concepts for issues such as: musical gesture, improvisation, written and not written music, musical ontology. Although these terms are rooted in Pareyson’s existentialist and hermeneutic background, quite far from contemporary philosophy of music, they seem to offer valuable tools to think the musical experience as a dynamic process, as an activity which «while it is doing, invents the way of doing».
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Fry, Katherine. "Not a “Telephone to the Beyond”: Nietzsche's Early Writings on Music." 19th-Century Music 42, no. 1 (2018): 53–70. http://dx.doi.org/10.1525/ncm.2018.42.1.53.
Much has been written about the importance of music and music making to Nietzsche's life and works as a whole, and the relevance of his philosophy for particular composers, repertoires, and works. Meanwhile, music historians and philosophers have approached Nietzsche's musical aesthetics by way of larger nineteenth-century paradigms such as “absolute” music or the history of “metaphysics.” This article explores Nietzsche's philosophical writings on music from the 1870s as they reveal the emergence of his critical outlook on Romantic aesthetics and the musical culture of his time. Against the backdrop of more recent debates about material culture and aesthetics in current musicology, it traces the development of his critical ideas about musical expression and listening as presented in his published and unpublished texts, concentrating on the period from Die Geburt der Tragödie aus dem Geist der Musik (The Birth of Tragedy out of the Spirit of Music, 1872) to the first volume of Menschliches, Allzumenschliches (Human, All Too Human, 1878). Rather than foreground Nietzsche's relationship with particular composers or works, it illuminates his double relationship with music as actual compositional practice in society and as an idealist metaphor for philosophy.
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Graham, Gordon. "Aesthetics and Sacred Music." Faith and Philosophy 31, no. 3 (2014): 243–55. http://dx.doi.org/10.5840/faithphil201481313.
Dissertations / Theses on the topic "Music – Philosophy and aesthetics":
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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/.
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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Sweeney, Mark Richard. "The aesthetics of videogame music." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:70a29850-0c0d-4abd-a501-e75224fa856a.
The videogame now occupies a unique territory in contemporary culture that offers a new perspective on conceptions of high and low art. While the fear that the majority of videogames 'pacify' their audience in an Adornian "culture industry" is not without justification, its reductionism can be countered by a recognition of the diversity and aesthetic potential of the medium. This has been proposed by sociologist, Graeme Kirkpatrick, although without close attention to the role of music. Videogame music often operates in similar ways to music in other mixed-media scenarios, such as film, or opera. In the same way that film music cannot be completely divorced from film, videogame music is contingent on and a crucial part of the videogame aesthetic. However, the interactive nature of the medium - its différance - has naturally led to the development of nonlinear musical systems that tailor music in real time to the game's dynamically changing dramatic action. Musical non-linearity points beyond both music and videogames (and their respective discourses) toward broader issues pertinent to contemporary musicology and critical thinking, not least to matters concerning high modernism (traditionally conceived of as resistant to mass culture). Such issues include Barthes's "death of the author", the significance of order/disorder as a formal spectrum, and postmodern conceptions and experiences of temporality. I argue that in this sense the videogame medium - and its music - warrants attention as a unique but not sui generis aesthetic experience. Precedent can be found for many of the formal ideas employed in such systems in certain aspects of avant-garde art, and especially in the aleatoric music prevalent in the 1950s and 60s. This thesis explores this paradox by considering videogames as both high and low, and, more significantly, I argue that the aesthetics of videogame music draw attention to the centrality of "play" in all cultural objects.
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Robertson, Casey. "Illuminating postmodern elements in the music of John Cage." Thesis, California State University, Dominguez Hills, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10020172.
While the American composer John Cage is often classified as an influential figure in the realm of modernist music, the controversial nature of Cage's work has proven to be more far-reaching than many had initially contended. Through a process of re-examining the work of Cage through a postmodern lens, this thesis rejects the notion that Cage was confined to the realm of modernism, and demonstrates that the composer not only exhibited postmodern tendencies through his ideas and concepts, but also aesthetically in his compositions. By illuminating these postmodern compositional practices and postmodern-influenced belief systems expressed by Cage as an artist, a reinterpretation of the composer and his work is carried out, while also addressing criticisms leveled toward Cage as a postmodernist. Through this contemporary reanalysis, the thesis demonstrates that Cage was a composer that transcended genres and classifications to ultimately resonate as a viable figure of postmodern music.
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Pitkin, Carissa. "Against Expression?: Avant-garde Aesthetics in Satie's "Parade"." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595499202615172.
Henry, Jon L. "Techniques of Sensual Perception: The Creation of Emotional Pathways." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2276/.
Some artists strive to create artwork that has aesthetic value. If a piece of artwork has the ability to capture the attention of an audience, it must contain strong sensual attributes. Thus, understanding how to design an art form to contain strong sensual attributes may increase the possibility of an aesthetic experience. Since aesthetics is an experience of sensations perceived when in contact with a creative form in any artistic discipline, it is necessary for an artist to understand the nature of the sensual experience. In understanding the sensual experience, artists may be able to create techniques to enhance the aesthetic experience of their work. My video piece, entitled Ararat is a study of methods to enhance the sensual experience. I hope to accomplish this by means of using techniques that optimize an audience's perceptual experience.
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高舒 and Shu Phyllis Kao. "Affective gesture in J.S. Bach's keyboard music with special referenceto selected works in D minor." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31213145.
Wong, Ching-ping. "The manifestation of Chinese philosophy and aesthetics in the performance of the pipa music." Thesis, Kingston University, 1989. http://eprints.kingston.ac.uk/20532/.
This thesis attempts to identify the philosophical and aesthetic concepts of pipa music. The discussion is approached from a performer's point of view and is supported by the author's demonstrations on the pipa, in conjunction with the discussion of artistic theories of other Chinese traditional arts. The introductory chapter involves an examination of thehistorical perspective of the pipa, a discussion of the problems of pipa notation and an explanation of the approach of this thesis. Part I (Chapters 1-6) concentrates on the discussion of theoretical matters. An investigation of the various meanings and the evolution of the concepts qi and yun is the first step to approaching Chinese philosophy and aesthetics. The “three levels of qi” involve playing technique, aesthetic and philosophical considerations. The capturing of “qi of intentional effort” is determined by “combined technique” and breathing methods. The articulation of timbre and “slide” are the essence of “yun”. The manipulation of “qi-yun” deals with the art of performance, interpretation and re-creation, as well as major aesthetic concepts and philosophical ideas of other traditional arts. The final approach of Part I (Chapter 6) probes in to the relationship of poetry and music. Pipa music shares a similar artistic appreciation of consummate beauty to that of Chinese poetry. The focus of Part II (Chapters 7 & 8) attempts to present a detailed analytical study of pipa right-hand “combined technique” and left-hand “slide” skills, accompanied by the study of their historical context. Apart from these matters, Part II acts as a support for the aesthetic and philosophical concepts of Part I.
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DORAN, NICOLE ELLEN. "A CHRISTIAN PHILOSOPHY OF MUSIC AND THE ARTS: THE CONTRIBUTIONS OF SCHAEFFER FAMILY AND THE L'ABRI COMMUNITY." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1023192423.
Taig, Phillip Barry. "The Musicality of The Sublime: Romantic sensibilities in film music." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/24674.
This thesis gives a cultural and philosophical account of the meaning of music through the analysis of romantic film music as it underscores dramatic, narrative film. The argument is furnished by thinkers and poets of the Romantic revolution in thought, language and sensibility that took place at the end of the eighteenth century and into the first third of the nineteenth century. The main claim is that romantic orchestral music is particularly suited, and has become ubiquitous as a standard, for expressing the darkness of the human heart; exhilarated and awed by the thrills and terrors of the sublime; elated and tortured by its pleasures and pains; recognizing that even happiness, pleasure and love are underwritten by the dark reality of our divided selves engaging a world riven by contradictions.
Schiller’s conception of das Musikalische, as a pre-conceptual reflection of the importance of music, provides a potent starting point for this argument. The ability of music to express a characteristic darkness, which finds its way into romantic orchestral film music, is enlisted precisely because only it can express such darkness in consonance with the existential and chiaroscuro darkness of film and cinematic experience as a spectacle of the sublime.
Chapter one cites some examples of symphonic orchestral film music in order to locate the style of music to be discussed. Chapter two presents a philosophical argument that justifies the main claims of the thesis. Chapter three presents a concise historical account, connecting the dark sublime of romantic literary practice with the evolution of dark themes in popular entertainment, leading eventually to the films of Hollywood’s Golden Era. Chapter four connects the mythological programme of Wagner’s conception of music drama with the New Mythology of the Romantics, and demonstrates how this programme came to influence symphonic film music. Chapters five and six give a musical and filmic analysis that illustrates the claims made throughout the thesis. Chapter five examines an instance of music composed in the late-romantic period being applied to a film. Chapter six gives a detailed analysis of two films that demonstrate abundantly the application of a dark sublime aesthetic to cinematic experience through the use of symphonic orchestral film music, and extends the insights gained to other, illustrative examples.
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Stellings, Alan. "Music cognition as musical culture, a philosophical investigation of cognitivist theory of music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0005/NQ28131.pdf.
Book chapters on the topic "Music – Philosophy and aesthetics":
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Alperson, Philip. "The Philosophy of Music: Formalism and Beyond." In The Blackwell Guide to Aesthetics, 254–75. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470756645.ch14.
Barwell, Ismay, and Justine Kingsbury. "Aesthetics and Philosophy of Music in Australasia." In History of Philosophy in Australia and New Zealand, 479–509. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-6958-8_25.
Liu, Johanna. "Art and Aesthetics of Music in Classical Confucianism." In Dao Companion to Classical Confucian Philosophy, 227–44. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-90-481-2936-2_10.
Kivy, Peter. "Another Go at the Meaning of Music: Koopman, Davies, and the Meanings of « Meaning »." In Aesthetics and Philosophy of Art, 285–301. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5069-5_14.
Farina, Mario. "The Philosophy of Music and the Dissolution of the Aesthetic." In Adorno’s Aesthetics as a Literary Theory of Art, 53–91. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45281-0_2.
Mangum, Charles Christopher, and Randall Everett Allsup. "Aesthetics Movement in North America and Reimer’s Contribution to Music Education." In Encyclopedia of Educational Philosophy and Theory, 1–13. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-287-532-7_686-1.
Hagberg, Garry L. "Wittgenstein, Music, and the Philosophy of Culture." In Wittgenstein on Aesthetic Understanding, 61–95. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-40910-8_3.
Park, So Jeong. "The Aesthetics of Musical Emotion in Ji Kang’s “Music has in It Neither Grief nor Joy”." In Dao Companions to Chinese Philosophy, 251–65. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49228-1_13.
Chernoff, John Miller. "African Music." In Aesthetics, 229–32. 4 [edition]. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315303673-47.
Caplan, Ben, and Carl Matheson. "Ontology of Music." In Aesthetics, 196–201. 4 [edition]. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315303673-41.
Conference papers on the topic "Music – Philosophy and aesthetics":
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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.
Subbotina, N. "AESTHETIC MODUS OF G. SHPET'S PHILOSOPHY." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2566.978-5-317-06726-7/145-148.
The theses of the report are devoted to the analysis of the aesthetic views of the representative of philosophical hermeneutics, professor of Moscow University G. G. Shpet. The questions of the essence of aesthetics as a science, its relationship with philosophy and art, their role in the spiritual culture of society are considered.
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Kondratyev, E. A. "AESTHETIC AND HERMENEUTIC RESEARCHS IN THE CONTEXT OF CONTEMPORARY PHILOSOPHY." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2535.978-5-317-06726-7/11-13.
The article is devoted to the problem of the relationship of the hermeneutic method with modern aesthetic theories, which interpret in different ways the central categories of aesthetics: aesthetic experience, mediality, environment, aesthetic meaning. The possibilities of dialogue of various interpretative strategies influencing the process of forming a system of new aesthetic categories are analyzed, the hermeneutic aspects of the analytical and pragmatist approaches are compared.
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Kulbizhekov, V. "ARTIFICIAL INTELLIGENCE AND MUSIC: A DIALOGUE OF OPPOSITES?" In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2549.978-5-317-06726-7/70-74.
The study of rational algorithms of musical creative activity is an important element on the way to creating working models of artificial intelligence in the future. Although nonverbal information is very difficult to discursively analyze and interpret, non-discursive methods of obtaining information, storing it, and transmitting it are increasingly used along with traditional rationality. To day, quite successful experiments have been conducted on verbalization and algorithmization of musical creative activity. Of course, there are more questions than answers, but, nevertheless, it is already necessary tostate a fairly successful application of computer technologies not only for describing musical creative processes, but alsofor simulating and reproducing the creative potentials of composers by artificially created computer programs. It is at this point that the possibilities of the human mind and computer programming converge, and this is an important step towards creating artificial intelligence.
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Polmeer, Gareth. "Sublating Time: Hegel’s speculative philosophy and digital aesthetics." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.49.
Mescherina, E. "NIKOLAUS ARNONCOURT: “NEW UNDERSTANDING” AND PROBLEMS OF INTERPRETATION OF ANCIENT MUSIC." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2547.978-5-317-06726-7/61-64.
The approach proposed by the famous conductor of our time N. Arnoncourt to interpret the music of the past as the “language of its era” includes a number of components (understanding music based on its own laws; the need for historical knowledge, etc.) and opposes “aesthetic music making”, which demonstrates exclusively the technical side of the execution.
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Chudoba, Eva. "JOHN DEWEYS AESTHETICS OF EVERY DAY LIFE." In SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s11.100.
Mankovskaya, N. "POST-RECEPTIVE HERMENEUTICAL METHOD IN THE AESTHETICS OF FRENCH SYMBOLISM." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2540.978-5-317-06726-7/32-35.
The report discusses the features of the post-receptive hermeneutical method in the philosophy of art of P. Claudel,representing the Catholic line in the aesthetics of French symbolism,and J. Péladan,critic of official Catholicism,interpreting art in the mystical and esoteric way. The author reveals the symbolic essence of Claudel's reflections on Dutch, Spanish and French painting and contemporary art. The author reveals the character of J. Péladan's interpretation of Dante's “Divine Comedy”,which he read as an esoteric,rather than a love story,mystical revelation.
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Song, Boyuan, and Junwei Ren. "Study on Aesthetics-cored Music Education Reform." In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.187.
Li, Lijuan. "Moulding of Aesthetics in Vocal Music Teaching." In 2015 International Conference on Education Technology and Economic Management. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icetem-15.2015.74.
