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

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

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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2

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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3

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

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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Fiske, Harold E., and David J. Elliott. "Music Matters: A New Philosophy of Music Education." Notes 53, no. 3 (March 1997): 770. http://dx.doi.org/10.2307/899720.

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12

Sarrazin, Natalie, and David J. Elliott. "Music Matters: A New Philosophy of Music Education." Ethnomusicology 40, no. 3 (1996): 517. http://dx.doi.org/10.2307/852476.

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13

Gauthier, Delores, and John Lychner. "Music Matters: A New Philosophy of Music Education." Journal of Music Teacher Education 5, no. 2 (June 1996): 30–32. http://dx.doi.org/10.1177/105708379600500206.

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14

Gonzol, David J. "Otto Rudolph Ortmann, Music Philosophy, and Music Education." Philosophy of Music Education Review 12, no. 2 (2004): 160–80. http://dx.doi.org/10.1353/pme.2005.0006.

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15

Sorensen, Roy. "Vague Music." Philosophy 86, no. 2 (March 25, 2011): 231–48. http://dx.doi.org/10.1017/s0031819111000052.

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AbstractIs listening to (purely instrumental) music like looking through a kaleidoscope? Formalists contend that music is meaningless. Most music theorists concede that this austere thesis is surprisingly close to the truth. Nevertheless, they refute formalism with a little band of diffusely referential phenomena, such as musical quotation, onomatopoeia, exemplification, and leitmotifs. These curiosities ought to be pressed into a new campaign against assumptions that vagueness can only arise in the semantically lush setting of language. Just as the discovery of extremophilic bacteria led biologists to revise their opinions about the scope and preconditions of life, the marginal forms of reference that survive in the semantic desert of absolute music should lead philosophers to revise their assumptions much about scope and preconditions of vagueness.

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16

Judge, J. A. "On Music." British Journal of Aesthetics 56, no. 3 (October 26, 2015): 325–29. http://dx.doi.org/10.1093/aesthj/ayv023.

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17

Markosian, Ned. "Sideways music." Analysis 80, no. 1 (August 3, 2019): 51–59. http://dx.doi.org/10.1093/analys/anz039.

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Abstract There is a popular theory in the metaphysics of time according to which time is one of four similar dimensions that make up a single manifold that is appropriately called spacetime. One consequence of this thesis is that changing an object’s orientation in the manifold does not change its intrinsic features. In this paper I offer a new argument against this popular theory. I claim that an especially good performance of a particularly beautiful piece of music, when oriented within the manifold in the normal way, adds to the intrinsic value of the world, but that if the same performance is turned sideways within the manifold, so that it involves a number of different notes spread out in space and all occurring at the same time, then it does not add the same intrinsic value to the world.

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18

Barnes, Jonathan. "Bagpipe music." Topoi 25, no. 1-2 (September 2006): 17–20. http://dx.doi.org/10.1007/s11245-006-0002-5.

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19

Reimer, Bennett. "A Philosophy of Music Education." Journal of Aesthetics and Art Criticism 49, no. 3 (1991): 279. http://dx.doi.org/10.2307/431496.

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20

Tan, Charlene. "Teaching Philosophy Using Music Videos." Thinking: The Journal of Philosophy for Children 19, no. 1 (2008): 44–48. http://dx.doi.org/10.5840/thinking20081917.

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21

Lippman, Edward A. "A Humanistic Philosophy of Music." International Review of the Aesthetics and Sociology of Music 19, no. 1 (June 1988): 132. http://dx.doi.org/10.2307/836456.

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22

Blondel, Eric. "Philosophy and Music in Nietzsche." International Studies in Philosophy 18, no. 2 (1986): 87–95. http://dx.doi.org/10.5840/intstudphil198618262.

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23

McCarthy, Marie, and J. Scott Goble. "Music Education Philosophy: Changing Times." Music Educators Journal 89, no. 1 (September 2002): 19–26. http://dx.doi.org/10.2307/3399880.

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24

Gallope, Michael, Brian Kane, Steven Rings, James Hepokoski, Judy Lochhead, Michael J. Puri, and James R. Currie. "Vladimir Jankélévitch's Philosophy of Music." Journal of the American Musicological Society 65, no. 1 (2012): 215–56. http://dx.doi.org/10.1525/jams.2012.65.1.215.

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25

Bicknell, Jeanette. "Philosophy of Music: An Introduction." British Journal of Aesthetics 45, no. 4 (October 1, 2005): 447–48. http://dx.doi.org/10.1093/aesthj/ayi057.

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26

Rychter, Marcin. "Music and Philosophy: Contemporary Challenges." Eidos. A Journal for Philosophy of Culture 3, no. 3 (October 30, 2019): 1–4. http://dx.doi.org/10.14394/eidos.jpc.2019.0026.

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27

Koopman, C. "Review: Philosophy, Music and Emotion." Mind 112, no. 448 (October 1, 2003): 759–62. http://dx.doi.org/10.1093/mind/112.448.759.

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28

Hedden, Debra Gordon. "A Philosophy of General Music." General Music Today 16, no. 1 (October 2002): 1–5. http://dx.doi.org/10.1177/10483713020160010501.

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29

Richerme, Lauren Kapalka. "Philosophy in the Music Classroom." Music Educators Journal 102, no. 1 (August 28, 2015): 62–68. http://dx.doi.org/10.1177/0027432115588957.

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30

Gulzhikhan, Nurysheva, and Tercan Nurfer. "AL-FARABI’S PHILOSOPHY OF MUSIC." Al-Farabi 74, no. 2 (June 30, 2021): 3–17. http://dx.doi.org/10.48010/2021.2/1999-5911.01.

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Scientists propose to understand the effect of music on the human psyche, knowledge about the soul, science, metaphysics, and spheres. At the center of all these discussions, we assume researchers are not focusing on how music triggers emotions. In this century we live in, most writers agree that this is the most crucial issue. Today’s researchers want to know why music creates strong emotional reactions in people with scientific explanations. Our study aims to find answers to today’s questions between the 9th and 10th centuries, indicated as the golden age of Islamic culture. We aimed to shed light on the answers to the questions of today’s researchers about the effect of music on the human soul. This article focuses on the second teacher’s approach to cosmology and how the various sciences contribute to the study of the heavens. After a survey of the sources available to Al Farabi, which helps to contextualise his work in light of the Greek legacy and the Arabic intellectual climate of his day, authors define his conception of the scientific method and to show the relation between scientific practice and theory. With a multidisciplinary approach to the history of philosophy and astronomy, Al Farabi’s philosophy of music contributes to physics, metaphysics and astronomy. As a result, our article contains the formulation of innovative, philosophical musical ideas. It is an effort that emerged in the formulation of Al Farabi’s Ptolemaic astronomy. The guiding subject of our research provided a holistic approach to the Aristotelian and Neoplatonic theories that complement each other. Adopting this perspective allows for a broader study of music within a particular culture or situation. The article examines ‘Kitab Al Musiqa’ research in the light of a definition of music that embraces the diversity of music using universal methods. Music is a significant and integral dimension of human improvement.

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31

Volkova, Polina S. "Osip Mandelstam: Music as Philosophy." Russian Studies in Philosophy 59, no. 2 (March 4, 2021): 146–53. http://dx.doi.org/10.1080/10611967.2021.1928953.

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32

Budd, Malcolm. "Music and Humanism." International Philosophical Quarterly 41, no. 4 (2001): 499–501. http://dx.doi.org/10.5840/ipq200141452.

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33

Higgins, Kathleen. "Nietzsche on Music." Journal of the History of Ideas 47, no. 4 (October 1986): 663. http://dx.doi.org/10.2307/2709725.

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34

Starret, Shari Neller. "Nietzsche on Music." International Studies in Philosophy 28, no. 3 (1996): 33–38. http://dx.doi.org/10.5840/intstudphil199628357.

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35

Howard, V. A. "Music As Heard." International Studies in Philosophy 20, no. 3 (1988): 103–4. http://dx.doi.org/10.5840/intstudphil198820375.

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36

Hepburn, Ronald W., and Martyn Evans. "Listening to Music." Philosophical Quarterly 42, no. 166 (January 1992): 131. http://dx.doi.org/10.2307/2220467.

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37

Hagberg, Garry. "Music and Imagination." Philosophy 61, no. 238 (October 1986): 513–17. http://dx.doi.org/10.1017/s0031819100061271.

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When we inquire into the nature of works of art we can see at a glance that there is a good deal of evidence against aesthetic idealism, the view that artworks are, in the final analysis, imaginary objects in the minds of their creators. We believe, for instance, that the National Gallery not only contingently but in some sense necessarily weighs more than merely the sum of the empty building, the people in it, and the assorted fixtures. This sum must also include the weight of canvases, the oils on them, carved stone and marble, and so on, all of which add up to substantially more than nothing, which is at least the approximate weight of imaginary things. We know that it takes considerably more than a verbal utterance or acoustical blast to transport an artwork, and we also know that a visit to the gallery is not going to amount to an afternoon spent with wax figures of unicorns, flying horses, present and bald kings of France or, for that matter, talking teapots. In short, intuition protests against the idealist theory that if works of art are imaginary objects, they cannot be the things we go to see in the gallery; and if they are imaginary objects then, like a waxen Peter Pan, they are surely not art. Mellon and Meinong simply have different kinds of collections.

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38

TRIVEDI, SAAM. "MUSIC AND METAPHYSICS." Metaphilosophy 39, no. 1 (January 16, 2008): 124–43. http://dx.doi.org/10.1111/j.1467-9973.2008.00524.x.

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39

Rink, J. "Music and Gesture." British Journal of Aesthetics 47, no. 2 (April 1, 2007): 224–26. http://dx.doi.org/10.1093/aesthj/ayl061.

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40

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.

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41

Berenson, Frances. "REPRESENTATION AND MUSIC." British Journal of Aesthetics 34, no. 1 (1994): 60–68. http://dx.doi.org/10.1093/bjaesthetics/34.1.60.

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42

Graham, G. "Women in music." British Journal of Aesthetics 40, no. 1 (January 1, 2000): 103–14. http://dx.doi.org/10.1093/bjaesthetics/40.1.103.

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43

CALLEN, DONALD M. "Making music live." Theoria 48, no. 3 (February 11, 2008): 139–68. http://dx.doi.org/10.1111/j.1755-2567.1982.tb00488.x.

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44

Ercole, Venessa. "Nietzsche and Music." Nietzsche-Studien 50, no. 1 (August 18, 2021): 329–39. http://dx.doi.org/10.1515/nietzstu-2021-0017.

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Abstract As the relationship between music and philosophy in Nietzsche’s thought and life continues to fascinate, new approaches to the treatment of music in Nietzsche studies have emerged which take seriously the importance of music, not only in Nietzsche’s life, but for his philosophical project as a whole. While Nietzsche’s often-quoted claim that life without music would be a mistake was once treated as a quip, the quality and breadth of the works reviewed here demonstrate that this invaluable area of Nietzsche’s thought is finally receiving the rigorous treatment it deserves. The works below each offer new and valuable insights on this exciting and growing area of Nietzsche studies which aid us in understanding where to place Nietzsche’s most loved art form in the framework of his philosophy.

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45

Ercole, Venessa. "Nietzsche and Music." Nietzsche-Studien 50, no. 1 (September 8, 2021): 329–39. http://dx.doi.org/10.1515/nietzstu-2021-500119.

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Abstract As the relationship between music and philosophy in Nietzsche’s thought and life continues to fascinate, new approaches to the treatment of music in Nietzsche studies have emerged which take seriously the importance of music, not only in Nietzsche’s life, but for his philosophical project as a whole. While Nietzsche’s often-quoted claim that life without music would be a mistake was once treated as a quip, the quality and breadth of the works reviewed here demonstrate that this invaluable area of Nietzsche’s thought is finally receiving the rigorous treatment it deserves. The works below each offer new and valuable insights on this exciting and growing area of Nietzsche studies which aid us in understanding where to place Nietzsche’s most loved art form in the framework of his philosophy.

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46

Pouivet, R. "Music and Humanism: An Essay in the Aesthetics of Music." British Journal of Aesthetics 42, no. 1 (January 1, 2002): 97–99. http://dx.doi.org/10.1093/bjaesthetics/42.1.97.

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47

Wates, Roye E., and Lewis Rowell. "Thinking about Music: An Introduction to the Philosophy of Music." Journal of Music Theory 30, no. 1 (1986): 141. http://dx.doi.org/10.2307/843414.

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48

Humphreys, Jere T. "Book Review: Music Matters: A New Philosophy of Music Education." Bulletin of Historical Research in Music Education 17, no. 2 (January 1996): 153–59. http://dx.doi.org/10.1177/153660069601700205.

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49

Humphries, C. "Review: Music and Humanism: An Essay in the Aesthetics of Music." Mind 111, no. 442 (April 1, 2002): 482–87. http://dx.doi.org/10.1093/mind/111.442.482.

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50

Sharpe, R. A. "Themes in the Philosophy of Music." International Philosophical Quarterly 44, no. 1 (2004): 121–23. http://dx.doi.org/10.5840/ipq200444177.

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