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Artículos de revistas sobre el tema "Music and philosophy"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 29 de julio de 2024

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1

Sunarto, Sunarto. "Pemikiran Hanslick tentang Estetika dan Kritik Musik". PROMUSIKA 3, n.º 2 (23 de noviembre de 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 y Umilia Rokhani. "Filsafat musik: Memahami esensi, perkembangan, dan relevansinya". Imaji: Jurnal Seni dan Pendidikan Seni 22, n.º 1 (28 de abril de 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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3

Nicholls, Tracey. "Music and Philosophy". Symposium 11, n.º 2 (2007): 476–79. http://dx.doi.org/10.5840/symposium200711246.

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4

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

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5

Levinson, Jerrold. "Philosophy and Music". Topoi 28, n.º 2 (8 de agosto de 2009): 119–23. http://dx.doi.org/10.1007/s11245-009-9055-6.

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6

Kertz-Welzel, Alexandra. "What Kant Really Said: Facts and Fiction in International Music Education Philosophy". Philosophy of Music Education Review 32, n.º 1 (marzo de 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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7

Ćuk, Barbara. "Hrotsvit of Gandersheim and Philosophy". Nova prisutnost XXII, n.º 1 (15 de marzo de 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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8

Haines, John y Patricia DeWitt. "JOHANNES DE GROCHEIO AND ARISTOTELIAN NATURAL PHILOSOPHY". Early Music History 27 (octubre de 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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9

Espiña, Yolanda. "Presentation – Philosophy of Music". Philosophy of Music 74, n.º 4 (30 de diciembre de 2018): 911–16. http://dx.doi.org/10.17990/rpf/2018_74_4_0911.

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10

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

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11

Dammann, G. "Music, Philosophy, and Modernity". British Journal of Aesthetics 48, n.º 4 (1 de octubre de 2008): 459–61. http://dx.doi.org/10.1093/aesthj/ayn036.

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12

Davies, S. "Philosophy, Music and Emotion". Australasian Journal of Philosophy 81, n.º 2 (junio de 2003): 281–83. http://dx.doi.org/10.1080/713659615.

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13

Šuvaković, Miško. "Critical Questiones About Deconstrution or About De-Centring Of The Relation Between Philosophy And Music". Musicological Annual 41, n.º 2 (1 de diciembre de 2005): 71–80. http://dx.doi.org/10.4312/mz.41.2.71-80.

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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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14

Ilnitchi, Gabriela. "MUSICA MUNDANA, ARISTOTELIAN NATURAL PHILOSOPHY AND PTOLEMAIC ASTRONOMY". Early Music History 21 (4 de septiembre de 2002): 37–74. http://dx.doi.org/10.1017/s0261127902002024.

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Emanating from a cosmos ordered according to Pythagorean and Neoplatonic principles, the Boethian musica mundana is the type of music that ‘is discernible especially in those things which are observed in heaven itself or in the combination of elements or the diversity of seasons’. At the core of this recurring medieval topos stands ‘a fixed sequence of modulation [that] cannot be separated from this celestial revolution’, one most often rendered in medieval writings as the ‘music of the spheres’ (musica spherarum). In the Pythagorean and Neoplatonic cosmological traditions, long established by the time Boethius wrote his De institutione musica, the music of the spheres is just one possible manifestation of the concept of world harmony. It pertains to a universe in which musical and cosmic structures express the same mathematical ratios, each of the planets produces a distinctive sound in its revolution and the combination of these sounds themselves most often forms a well-defined musical scale. Although the Neoplatonic world harmony continued to function in medieval cosmology as the fundamental conceptual premise, the notion of the music of the spheres, despite its popularity among medieval writers, was generally treated neither at any significant length nor in an innovative fashion. Quite exceptional in this respect is the treatise that forms the subject of the present study, a text beginning Desiderio tuo fili carissime gratuito condescenderem and attributed to an anonymous bishop in the late thirteenth-century manuscript miscellany now in the Biblioteca Apostolica Vaticana (Barb. lat. 283, fols. 37r-42v) but probably coming from a Franciscan convent in Siena. This seldom considered work affords a remarkable and special insight into the ways in which old and new ideas converged, intermingled and coexisted in the dynamic and sometimes volatile cross-currents of medieval scholarship.

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15

Fiske, Harold E. y David J. Elliott. "Music Matters: A New Philosophy of Music Education". Notes 53, n.º 3 (marzo de 1997): 770. http://dx.doi.org/10.2307/899720.

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16

LeBlanc, Albert. "Music Matters: A New Philosophy of Music Education". Music Educators Journal 82, n.º 4 (enero de 1996): 61–62. http://dx.doi.org/10.2307/3398921.

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17

Gauthier, Delores y John Lychner. "Music Matters: A New Philosophy of Music Education". Journal of Music Teacher Education 5, n.º 2 (junio de 1996): 30–32. http://dx.doi.org/10.1177/105708379600500206.

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18

Sarrazin, Natalie y David J. Elliott. "Music Matters: A New Philosophy of Music Education". Ethnomusicology 40, n.º 3 (1996): 517. http://dx.doi.org/10.2307/852476.

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19

Gonzol, David J. "Otto Rudolph Ortmann, Music Philosophy, and Music Education". Philosophy of Music Education Review 12, n.º 2 (2004): 160–80. http://dx.doi.org/10.1353/pme.2005.0006.

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20

Gulzhikhan, Nurysheva y Tercan Nurfer. "AL-FARABI’S PHILOSOPHY OF MUSIC". Al-Farabi 74, n.º 2 (30 de junio de 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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21

Oehrle, Elizabeth. "Challenges in Music Education Facing the New South Africa". British Journal of Music Education 15, n.º 2 (julio de 1998): 149–54. http://dx.doi.org/10.1017/s0265051700009293.

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South Africa is undergoing dynamic changes affecting all aspects of life, and legacies of the previous regime have a bearing on these changes. Music educators informal institutions face many challenges. Music-making in the informal sector is extensive, ongoing and relevant. Today, one of the greatest challenges for music educators in the formal sector is to realise the importance and value of developing a philosophy and process of music education that emanates and evolves from musics and musical practices existing in southern Africa.

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22

McAuley, Tomas. "Missing the Wrong Target: On Andrew Bowie’s Rejection of the Philosophy of Music". Performance Philosophy 1, n.º 1 (10 de abril de 2015): 59. http://dx.doi.org/10.21476/pp.2015.1126.

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Andrew Bowie rejects the philosophy of music. He does so because it (allegedly) objectifies music and because it (allegedly) only ever affirms the practitioner’s prior philosophical assumptions. I argue that Bowie’s rejection is illegitimate on two counts. First, he mischaracterises the philosophy of music. I show how. Second, even if his characterisation of the philosophy of music were a faithful representation of that discipline, his reasons for rejecting it would still not be sufficient. In particular, Bowie criticises the philosophy of music for not engaging properly with its ‘other’ (music), yet refuses to engage seriously with his own ‘other’ (the philosophy of music). Bowie aims for the wrong target – and misses anyway.

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23

Reimer, Bennett. "A Philosophy of Music Education". Journal of Aesthetics and Art Criticism 49, n.º 3 (1991): 279. http://dx.doi.org/10.2307/431496.

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24

Volkova, Polina S. "Osip Mandelstam: Music as Philosophy". Russian Studies in Philosophy 59, n.º 2 (4 de marzo de 2021): 146–53. http://dx.doi.org/10.1080/10611967.2021.1928953.

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25

McCarthy, Marie y J. Scott Goble. "Music Education Philosophy: Changing Times". Music Educators Journal 89, n.º 1 (septiembre de 2002): 19–26. http://dx.doi.org/10.2307/3399880.

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26

Blondel, Eric. "Philosophy and Music in Nietzsche". International Studies in Philosophy 18, n.º 2 (1986): 87–95. http://dx.doi.org/10.5840/intstudphil198618262.

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27

Tan, Charlene. "Teaching Philosophy Using Music Videos". Thinking: The Journal of Philosophy for Children 19, n.º 1 (2008): 44–48. http://dx.doi.org/10.5840/thinking20081917.

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28

Lippman, Edward A. "A Humanistic Philosophy of Music". International Review of the Aesthetics and Sociology of Music 19, n.º 1 (junio de 1988): 132. http://dx.doi.org/10.2307/836456.

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29

Gallope, Michael, Brian Kane, Steven Rings, James Hepokoski, Judy Lochhead, Michael J. Puri y James R. Currie. "Vladimir Jankélévitch's Philosophy of Music". Journal of the American Musicological Society 65, n.º 1 (2012): 215–56. http://dx.doi.org/10.1525/jams.2012.65.1.215.

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30

Bicknell, Jeanette. "Philosophy of Music: An Introduction". British Journal of Aesthetics 45, n.º 4 (1 de octubre de 2005): 447–48. http://dx.doi.org/10.1093/aesthj/ayi057.

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31

Richerme, Lauren Kapalka. "Philosophy in the Music Classroom". Music Educators Journal 102, n.º 1 (28 de agosto de 2015): 62–68. http://dx.doi.org/10.1177/0027432115588957.

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32

Koopman, C. "Review: Philosophy, Music and Emotion". Mind 112, n.º 448 (1 de octubre de 2003): 759–62. http://dx.doi.org/10.1093/mind/112.448.759.

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33

Rychter, Marcin. "Music and Philosophy: Contemporary Challenges". Eidos. A Journal for Philosophy of Culture 3, n.º 3 (30 de octubre de 2019): 1–4. http://dx.doi.org/10.14394/eidos.jpc.2019.0026.

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34

Hedden, Debra Gordon. "A Philosophy of General Music". General Music Today 16, n.º 1 (octubre de 2002): 1–5. http://dx.doi.org/10.1177/10483713020160010501.

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Bischin, Maria-Roxana. "The Piano’s Sound Apperception in Havasi Balázs’s Compositions, with Some Remarks from Alfred Whitehead and Theodore Ziolkowski". Sæculum 47, n.º 1 (1 de julio de 2019): 137–48. http://dx.doi.org/10.2478/saec-2019-0013.

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AbstractIn a world full of suffering, the only thing that remains is music. Due to the present situation of the music in our lives and problems of the research in the field of philosophy of the music, it becomes a special priority for us to try to investigate the new sense of the contemporary music. The nature, the sensitive part of our feelings and the perceptions, have made possible the fact that music can be lived. For a deeply examination of the philosophy of Havasi’s symphonies, we should ask ourselves if the essence of the sound becomes a part of our ʽlived worldʼ and if establishes Heidegger’s ʻworldliness of the world’.Meanwhile, it is an important priority for a philosopher to show how the tradition can be break, even in a phenomenological field of study. Culture helps us to understand the spiritual functions of the music in our lives. We will try to demonstrate in this article why the music of Havasi Balázs is a philosophy of the lived “given facts” and a direct “experience” for the world. He establishes a different classical-contemporary aesthetic in music and opens a field of research between the aesthetic category of the classic and lived perception. At last, but not least, Havasi remains the most romantic pianist from our times. Due to him, we can return sometimes to innocence and connect ourselves with the inner-lived world through sounds.

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Fry, Katherine. "Not a “Telephone to the Beyond”: Nietzsche's Early Writings on Music". 19th-Century Music 42, n.º 1 (2018): 53–70. http://dx.doi.org/10.1525/ncm.2018.42.1.53.

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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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Octa Maria Sihombing, Jordi Istandar y Evi Mariani. "Music And Philosophy In Relation To Christian Belief". Jurnal Riset Rumpun Seni, Desain dan Media 3, n.º 1 (28 de febrero de 2024): 50–79. http://dx.doi.org/10.55606/jurrsendem.v3i1.2358.

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This research explores the relationship between music and philosophy within the context of Christian faith. The research methodology employed is descriptive and qualitative, utilizing a hermeneutic approach that involves literature review, in-depth interviews, and qualitative analysis. The findings indicate that music, as an art form that utilizes sound, plays a significant role in expressing Christian faith, facilitating church worship, and fostering fellowship. Christian philosophy is the study of the nature of reality. It helps to understand the meaning of music in the context of Christian beliefs, examine aspects of music, and develop Christian theology. The Bible provides guidance on the role of music and philosophy in the Christian faith. Music and philosophy complement each other, enriching the religious experience of Christians and encouraging a deeper appreciation of both

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Gopinathan, Aditi y Leonard Tan. "“Om”: Singing Vedic Philosophy for Music Education". Philosophy of Music Education Review 31, n.º 1 (marzo de 2023): 4–24. http://dx.doi.org/10.2979/pme.2023.a885189.

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Abstract: Extending a nascent line of Asian philosophical research in music education, we mine Indian philosophies of music and education. Three key questions guide our project: What are Vedic philosophies of music? What are Vedic philosophies of education? Taken together, what insights can we draw for contemporary music education writ large? To address our questions, we analyze key passages from the Upanishads and synthesize ideas from these texts. A quartet of inter-related ideas emerge from our analysis: the guru , the shishya, vidya , and moksha . In brief, the guru (teacher) is revered as one would god, for it is the teacher who leads the shishya (student) toward vidya (knowledge) and through that toward moksha (liberation of the soul), which can also be attained via making music, such as the singing of Om (the absolute sound). In addition to proffering insights for contemporary music education, particularly in terms of how the ancient Vedic guru-shishya parampara adds nuance to contemporary discussions on the master-apprentice model of music education, we imagine how music education philosophy might look like if it were to be sung.

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39

Reimer, Bennett. "Should there be a universal philosophy of music education?" International Journal of Music Education os-29, n.º 1 (mayo de 1997): 4–21. http://dx.doi.org/10.1177/025576149702900103.

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The four themes of the Conference focus on the universal dimension of music, claiming that music speaks universally to all generations, times, cultures, and nations. if that is the case, it should also be the case that a universal philosophy of music education – a coherent system of beliefs about the nature and value of music and its role in education and in life, applicable to all generations, times, cultures, and nations – should exist or can exist or does exist. However, no such universal philosophy has been articulated and has been recognized by the world's music educators to be universally acceptable. In fact, many would claim that a universally persuasive philosophy is unlikely if not undesirable. Lacking such a philosophy, claims for the universality of music have no firm foundation. Yet the intuition that there is, indeed, a universal dimension of music and of music education remains persuasive or at least attractive. Is it possible to identify universally accepted values of music and the teaching and learning of music? Would it be useful for the international community of music educators if attempts were made to do so? This paper will argue that it would be extremely useful to make such an attempt, and will suggest some of the strategies by which the attempt might prove fruitful.

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Ercole, Venessa. "Nietzsche and Music". Nietzsche-Studien 50, n.º 1 (8 de septiembre de 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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41

Ercole, Venessa. "Nietzsche and Music". Nietzsche-Studien 50, n.º 1 (18 de agosto de 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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42

Kolomiets, G. G. y D. Rasul-Kareyev. "Philosophical Conversations about Music in Simple Language. Pythagoras: the Divine Number and World Musical Harmony". Concept: philosophy, religion, culture 7, n.º 2 (18 de junio de 2023): 154–67. http://dx.doi.org/10.24833/2541-8831-2023-2-26-154-167.

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The article is written on the basis of a conversation on the philosophy of music by Professor G.G. Kolomiets, author of the book Value of music: philosophical aspect, with a musician from France, Dmitry Rasul-Kareev, Clarinet solo of Orchestra de la Suisse Romande. The dialogue gives a detailed and simple understanding of the philosophical view of music on the example of the ancient philosopher Pythagoras. His cosmological teaching saw the kinship of music, mathematics and philosophy and stated that the divine perception of the world is contained in the divine Number permeating the entire cosmos and our life. Music is made of numerical proportions and acts as a substance that exists even without a person, yet this unchanging principle of divine harmony, can be felt, experienced and expressed in musical art. Cosmologists believed there is a comprehensive law, according to which objects obey the divine mind, the great Rhythm. Music seemed to be the embodiment of the rhythm of the universe and harmony. The essence of the harmony of the spheres is that the cosmos is a harmoniously arranged and musical-sounding body. The movement of the starry sky creates the music of the cosmic spheres, which is refracted when playing musical instruments, and this lends itself to precise mathematical calculations. The intervals between the cosmic spheres are mathematically correlated with each other like the intervals of tones in music. The Pythagorean understanding of the numerical harmony of the structure of the universe largely determined the path of development of music theory, forming the main musical categories: fret, rhythm, interval, modulation and others. The modern philosophy of music deepens the Pythagorean ideas of harmony of spheres, putting forward the principles of functionality and processivity as properties of music, and allows us to talk about the law of cyclicity on a global scale. For example, following Pythagoras, music outside of the actual musical art is interpreted as a reflection of the vibrations of a complex communicative system: man-society-nature-cosmos.

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Wang, Yijie. "Aesthetic Discussion of Music Art from Philosophical Perspective". Journal of Education and Educational Research 7, n.º 3 (3 de marzo de 2024): 268–70. http://dx.doi.org/10.54097/kv9z2q70.

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"Chinese music" is a grand concept, only from a point of view cannot fully understand its essence and value. Using cultural philosophy to deeply analyze the birth and development track of Chinese music art is based on a new way of thinking to interpret the art form. Throughout the development history of music aesthetics at home and abroad, philosophical speculation in music aesthetics has always been the theoretical basis for academic circles to focus on. Starting from the objective mechanism of music development, the epistemology and methodology of philosophy have always been the foundation of the development of music aesthetics. Since then, music, aesthetics and philosophy have been closely related to each other, forming a self-adapting paradigm system.

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Wates, Roye E. y Lewis Rowell. "Thinking about Music: An Introduction to the Philosophy of Music". Journal of Music Theory 30, n.º 1 (1986): 141. http://dx.doi.org/10.2307/843414.

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Humphreys, Jere T. "Book Review: Music Matters: A New Philosophy of Music Education". Bulletin of Historical Research in Music Education 17, n.º 2 (enero de 1996): 153–59. http://dx.doi.org/10.1177/153660069601700205.

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Polo Pujadas, Magda. "Philosophy of Music: Wittgenstein and Cardew". Philosophy of Music 74, n.º 4 (30 de diciembre de 2018): 1425–36. http://dx.doi.org/10.17990/rpf/2018_74_4_1425.

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The article focuses on the experimental music that emerged after the Second World War and in graphic musical notation. He has a special interest in the influence exercised by the reading of the Tractatus Logico Philosophicus in the musical work Treatise by Cornelius Cardew. The isomorphism between language and reality and the different types of propositions formulated by the first Wittgenstein represent a new conception of music in the composer.

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LAURAND, VALERY. "LES EFFETS ÈTHIQUES DE LA MUSIQUE : LA LECTURE PROBLÈMATIQUE DE DIOGÈNE DE BABYLONE PAR PHILODÈME DE GADARA". Méthexis 27, n.º 1 (30 de marzo de 2014): 197–214. http://dx.doi.org/10.1163/24680974-90000639.

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This paper deals with the place Diogenus of Babylon grants music within the realm of ethical education and training, as reported in Philodemus of Gadara’s (partisan) testimony in his De Musica, wherein it is stated that music encourages men to cultivate virtue and strengthen it. By exploring the controversy between Epicureanism and Stoicism, this paper aims to understand how, according to Stoic thought, cognitive sense-perception (ἐπɩστημoνKὴ σἲσθησɩᴤ) could have an ethical outcome, the sensory experience thus proving its expertise within the field of ethics, and succeeding in changing man's varying states of pleasure and pain. In fact, music like poetry turns out to be the resounding image of rationality that holds direct sway over the rational soul.

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Jamnongsarn, Surasak. "TRANSKULTURASI MUSIK ANTARAGAMELAN JAWA, ANGKLUNG, DAN MUSIK TRADISI THAILAND". MELAYU ARTS AND PERFORMANCE JOURNAL 2, n.º 2 (20 de enero de 2020): 158. http://dx.doi.org/10.26887/mapj.v2i2.975.

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Javanese gamelan and angklung to Thailand music gives the impact on the development of Thailand traditional music. That musical transculturation exists in the musical instrument of angklung and the musical concept of Javanese gamelan that are then mixed with the system of Thailand traditional music involving gamut (tuning system), presentment method, and its function in society. This transculturation shows the understanding of cultural relation between Thailand traditional music that has the background of Buddhism philosophy and Gamelan that has the background of Kejawen syncretism. These two kinds of music have formed the new characteristic and identity of Thailand music. Angklung played with the concept of Javanese gamelan called as angklung Thailand that then becomes Thailand traditional music. The article aims at revealing the transculturation of Javanese gamelan and angklung into the traditional music and its impact on the development of Thailand traditional music. This research used qualitative method with the accentuation in field research that involved researcher with the material object to delve various musical experiences by participating as the player of those two musical instruments. The transculturation of Javanese gamelan and angklung with Thailand traditional music has given the new development in Thailand traditional music. Keywords: Transculturation, Javanese gamelan, angklung, and Thailand traditional music ABSTRAKTranskulturasi gamelan Jawa dan angklung ke Thailand memberikan dampak pada perkembangan musik tradisi Thailand. Transkulturasi musik itu berwujud pada alat musik angklung dan konsep musikal gamelan Jawa, kemudian bercampur dengan sistem musik tradisi Thailand, yang mencakup pada tangga nada (tuning system), carapenyajian, dan fungsinya dalam masyarakat. Transkulturasi inimemunculkan pemahaman relasi kebudayaan antara musik tradisi Thailand yang berlatar belakang filosofi Buddhisme dan gamelan yang berlatar belakang sinkretis kejawen. Kedua musik ini telahmembentuk ciri dan identitas baru musik Thailand.Angklung yang dimainkan dengan konsep gamelan Jawa yang disebut angklung Thailand selanjutnya menjadi musik tradisi Thailand. Artikel bertujuan mengungkap transkulturasi gamelan Jawa dan angklung ke musik tradisi serta dampaknya pada perkembangan musik tradisi Thailand. Penelitian ini menggunakan metode kualitatif dengan penekanan pada penelitian lapangan yang melibatkan peneliti dengan objek materialuntuk menggali berbagai pengalaman musikal dengan ikut serta bermain kedua musik itu. Transkulturasi gamelan Jawa dan angklung dengan music tradisi Thailand telah memberikan perkembangan baru pada musik tradisi Thailand. Kata kunci: transkulturasi, gamelan Jawa, angklung, dan musik tradisi Thailand

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Trivedi, Saam y Stephen Davies. "Themes in the Philosophy of Music". Journal of Aesthetic Education 37, n.º 3 (2003): 108. http://dx.doi.org/10.2307/3527308.

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Truitt, Willis, Ernst Bloch y Peter Palmer. "Essays on the Philosophy of Music". Journal of Aesthetics and Art Criticism 45, n.º 4 (1987): 421. http://dx.doi.org/10.2307/431339.

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