Relevant bibliographies by topics / Rolland's philosophy of music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Rolland's philosophy of music'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Rolland's philosophy of music"

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Collins, Ashok. "The Religious Attitude and Music in Romain Rolland's Jean-Christophe: A Tekhnè of Body." Australian Journal of French Studies 48, no. 2 (May 2011): 188–200. http://dx.doi.org/10.3828/ajfs.48.2.188.

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Andriopoulos, D. Z. "Philosophy and Music." Philosophical Inquiry 32, no. 3 (2010): 93–108. http://dx.doi.org/10.5840/philinquiry2010323/46.

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Nicholls, Tracey. "Music and Philosophy." Symposium 11, no. 2 (2007): 476–79. http://dx.doi.org/10.5840/symposium200711246.

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Levinson, Jerrold. "Philosophy and Music." Topoi 28, no. 2 (August 8, 2009): 119–23. http://dx.doi.org/10.1007/s11245-009-9055-6.

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Milan, Kerry. "Young Strings in Action. (volume 1): Paul Rolland's Approach to String Playing revised by Sheila Johnson. New York: Boosey & Hawkes, 1985. Teacher's editions, £9.50; students' editions £4.95 and £3.95." British Journal of Music Education 3, no. 3 (November 1986): 364–66. http://dx.doi.org/10.1017/s0265051700000863.

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Espiña, Yolanda. "Presentation – Philosophy of Music." Philosophy of Music 74, no. 4 (December 30, 2018): 911–16. http://dx.doi.org/10.17990/rpf/2018_74_4_0911.

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Davies, S. "Philosophy, Music and Emotion." Australasian Journal of Philosophy 81, no. 2 (June 2003): 281–83. http://dx.doi.org/10.1080/713659615.

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Dammann, G. "Music, Philosophy, and Modernity." British Journal of Aesthetics 48, no. 4 (October 1, 2008): 459–61. http://dx.doi.org/10.1093/aesthj/ayn036.

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Sulka, Emily. "Shakespeare's Philosophy of Music." Musical Offerings 8, no. 2 (2017): 41–50. http://dx.doi.org/10.15385/jmo.2017.8.2.1.

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LeBlanc, Albert. "Music Matters: A New Philosophy of Music Education." Music Educators Journal 82, no. 4 (January 1996): 61–62. http://dx.doi.org/10.2307/3398921.

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Dissertations / Theses on the topic "Rolland's philosophy of music"

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Smith, Jonathan Christian. "Freedom and liberation in 'Jean-Christophe' : a study in the imagination of Romain Rolland." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329215.

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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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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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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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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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Goehr, Lydia. "The work of music." Thesis, University of Cambridge, 1987. https://www.repository.cam.ac.uk/handle/1810/283654.

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Sales, Anthony. "Musical investigations : Ludwig Wittgenstein and music." Thesis, University of Ulster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241998.

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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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Books on the topic "Rolland's philosophy of music"

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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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Music and philosophy. Milwaukee, Wis: Marquette University Press, 2005.

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

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Philosophy of music. Montréal: McGill-Queen's University Press, 2004.

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

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

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Music, philosophy, and modernity. Cambridge: Cambridge University Press, 2007.

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

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

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Book chapters on the topic "Rolland's philosophy of music"

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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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Shevock, Daniel J. "Philosophy on Soil." In Eco-Literate Music Pedagogy, 22–36. New York : Routledge, 2017. | Series: Routledge New Directions in Music Education Series: Routledge, 2017. http://dx.doi.org/10.4324/9781315211596-2.

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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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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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Paddison, Max. "Adorno, Music, and Philosophy." In The Routledge Companion to the Frankfurt School, 380–93. 1 [edition] | New York City: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429443374-27.

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Wilshire, Bruce. "The Body, Music, and Healing." In Philosophy and Medicine, 215–25. Dordrecht: Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-010-0536-4_11.

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Lines, David. "Praxial Music Education." In Encyclopedia of Educational Philosophy and Theory, 1–5. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-287-532-7_682-1.

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Lines, David. "Praxial Music Education." In Encyclopedia of Educational Philosophy and Theory, 1–5. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-287-532-7_682-1.

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Franklin, Peter. "Adorno’s Philosophy of Modern Music." In The Idea of Music, 55–75. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-17996-1_4.

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Conference papers on the topic "Rolland's philosophy of music"

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Shermam Morais Vieira, Ariane, and 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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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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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, and 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, and 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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Jia, Fan, and Lee Chie Tsang Isaiah. "Research on the Application of Fuzzy Philosophy Theory in Chinese Contemporary National Chamber Music Creation: The erhu Ensemble “Opera Mask” as an Example." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008765303880393.

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De Podestá, Nathan Tejada, and Silvia Maria Pires Cabrera Berg. "New University: liberal education and arts in Brazil." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9514.

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This paper is part of an ongoing research on the issue of music education in Brazilian universities. It aims to identify educational models that structure pedagogical practice at this level of studies. It distinguishes the types of professional and human education promoted in each one of the presented models (French, German and American) as well as liberal education, identified as a global trend. Relating the current socio-cultural political and economic context with education with the support of Godwin (2015), Berg (2012) and Jansen (1999) we argue that liberal education provides a structure can favor the development of competences and skills demanded on the current conjuncture. In this frame, we will analyze, with the help of Paula (2008) and Santos & Filho (2008), the historical dynamics of Brazilian higher education and show how liberal education and post-colonial philosophy is restructuring Brazilian universities. This “new university” allows the implementation of a multicultural, multi-epistemic pedagogy that overcome fragmentary disciplinary views and renders feasible the proposition of new ways of conceiving training, studying, teaching and research in music and arts.
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