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Artículos de revistas sobre el tema "Music – Philosophy and aesthetics"

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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2

Magdalena, Elsa, Destri Natalia, Andry Pranata y Nicolhas Jurdy Wijaya. "Filsafat dan Estetika Menurut Arthur Schopenhauer". Clef : Jurnal Musik dan Pendidikan Musik 3, n.º 2 (31 de diciembre de 2022): 61–77. http://dx.doi.org/10.51667/cjmpm.v3i2.1111.

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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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3

Rowe, M. W. "Aesthetics and Music". British Journal of Aesthetics 49, n.º 3 (10 de junio de 2009): 313–14. http://dx.doi.org/10.1093/aesthj/ayp028.

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4

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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5

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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6

Dr. Muhmmad Jawwad. "Influence of Kant’s Aesthetics on the Aesthetics of Collingwood". sjesr 6, n.º 2 (30 de junio de 2023): 148–52. http://dx.doi.org/10.36902/sjesr-vol6-iss2-2023(148-152).

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R. G. Collingwood is supposed to be one of the most important Aesthetes of 20th Century. He was a multi-talented person having original ideas in the fields of Philosophical History (his most famous book is ‘Idea of History’), Aesthetics and Anthropology. He was a practitioner in the field of Archaeology and Music. His second most famous book is ‘Principles of Art.’ He is supposed to be an original philosopher of Art too. His Philosophy of Art has much to do and has much connections with the Aesthetics of Immanuel Kant. Kant was a multi-dimensional genius, presenting before the world very original and outstanding ideas about Metaphysics, Epistemology, Ethics and also Aesthetics. This article is an attempt to understand the influence of Kant’s Aesthetics on the Aesthetics of Collingwood and to present before the readers the great similarities between the Aesthetic ideas of these two philosophers. According to Kant, Aesthetics is the fourth most important function of human mind. Apart from pure reasoning, pragmatic thinking and moral concerns, Aesthetics is that aspect of human mind which deals with beauty. The problem with the Aesthetics of Kant or the Aesthetics of Collingwood is that both of the philosophers present Aesthetics as the divider and in the humble opinion of the writer of this article it is not divider but a connector – connector of moral, pragmatic and pure reason.

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7

Levinson, Jerrold y Roger Scruton. "The Aesthetics of Music". Philosophical Review 109, n.º 4 (octubre de 2000): 608. http://dx.doi.org/10.2307/2693633.

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8

Bidney, Martin. "The Aesthetics of Music". International Studies in Philosophy 36, n.º 1 (2004): 289–90. http://dx.doi.org/10.5840/intstudphil200436160.

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9

Levinson, J. "THE AESTHETICS OF MUSIC". Philosophical Review 109, n.º 4 (1 de octubre de 2000): 608–14. http://dx.doi.org/10.1215/00318108-109-4-608.

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10

Oliva, Stefano. "Risonanze della Teoria della Formatività di Luigi Pareyson nell’Estetica Musicale Contemporanea". Philosophy of Music 74, n.º 4 (30 de diciembre de 2018): 1077–92. http://dx.doi.org/10.17990/rpf/2018_74_4_1077.

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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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11

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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12

ABAYLI, Özcan. "AESTHETIC THEORY IN TURKIS MUSIC PERFORMANCE METHODS". SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, n.º 39 (15 de septiembre de 2023): 425–34. http://dx.doi.org/10.31567/ssd.1014.

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The issue of what should be the elements that make up the aesthetics in Turkish Music performance methods has not been adequately addressed scientifically. However, Turkish music contains the rich aesthetic accumulation of a deep-rooted cultural heritage that extends to the present day. It is inevitable that the aesthetic elements in the maqam, rhythm and melodic structures of Turkish Music works will make significant contributions to both academic studies and performance. In this context, aesthetics and music philosophy especially in the creation processes of musical works have a special importance. Therefore, the study of aesthetic elements in the genres and forms of Turkish Music repertoire emerges as a compulsory field. The value of aesthetics, which is defined as the way of searching for the beautiful, in Turkish Music works is directly proportional to the compositions of the makams and tempos. In the analysis of a musical work, the form that forms the building blocks of the work is very important. Aesthetic questioning on the form should be made through the elements of motif, sentence, clause and section. However, studying all of the aesthetic elements of Turkish Music, which has a very wide repertoire, requires a lot of effort and time. In this article, first of all, aesthetic perception, aesthetic attitude, aesthetic pleasure etc. related to aesthetic theory. By emphasizing the main concepts, the aesthetic elements in the performance of Turkish Music works with the aesthetic questioning method, which is one of the most basic elements of creativity, are studied under the headings by giving examples.

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13

Zangwill, Nick. "Scruton's Musical Experiences". Philosophy 85, n.º 1 (enero de 2010): 91–104. http://dx.doi.org/10.1017/s0031819109990453.

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AbstractRoger Scruton's account of the nature of music and our experience of it foregrounds the imagination. It is a particularly interesting and promising ‘non-realist’ view in the aesthetics of music, in the sense that it does not postulate aesthetic properties of music that we represent in musical experience. In this paper I critically examine both Scruton's view and his main argument for it.

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14

Graham, Gordon. "Aesthetics and Sacred Music". Faith and Philosophy 31, n.º 3 (2014): 243–55. http://dx.doi.org/10.5840/faithphil201481313.

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15

Munte, Alfonso, Destri Natalia, Elsa Magdalena, Nicolhas Jurdy Wijaya y Reynhard Malau. "Aesthetic Musicality of Arthur Schopenhauer and New Testament Throughout the Ages". Journal of Social and Humanities 1, n.º 1 (11 de marzo de 2023): 16–22. http://dx.doi.org/10.59535/jsh.v1i1.15.

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Based on the qualitative research, data seeking technique was applied through literature reviews. Literature studies used secondary sources or previous research from researchers associated with music, aesthetics, and the New Testament. The previous studies showed a diversity of views which led to aesthetic participation of music in melodies, rhythms and tempos in an axiological sense and musical aesthetics as a depiction of feelings, struggles (parents, children, [female] activists), and manuscript excavation tools throughout the ages. These tools of aesthetics are fused with the thoughts of philosopher Arthur Schopenhauer who spoke of aesthetics, desire and ideas. The intention of our research is to demonstrate the network of previous researches as an intertwined encounter with one another to counter the aesthetic ultimacy that considers one aesthetic preferable to another in music and even in the New Testament. The research results reveal the existence of a space of togetherness between aesthetic diversity in and through music as a dynamic tension through the insight of Arthur Schopenhauer.

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16

Ferreira, Emmanoel. "Agency, Appropriation, Politics: Three Epistemological Keys Towards an Aesthetics of Play". Acta Ludologica 6, n.º 2 (2023): 62–78. http://dx.doi.org/10.34135/actaludologica.2023-6-2.62-78.

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Based on a dialogue with authors of pragmatist philosophy, game studies, and communication, this article intends to understand the relationship between aesthetic experience and ludic media, in particular digital games, in what this relationship distinguishes from the aesthetic experiences provided by different media, such as literature, music, film and the arts in general. To better understand this relationship, we propose the presentation and development of three epistemological axes (or keys), namely: i) aesthetics and agency, ii) aesthetics and appropriation, and iii) aesthetics and politics. Furthermore, this article intends to present and comment on selected works of digital games to illustrate the relationship between play and aesthetic experience in each of those respective axes.

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17

TRUAX, BARRY. "The aesthetics of computer music: a questionable concept reconsidered". Organised Sound 5, n.º 3 (diciembre de 2000): 119–26. http://dx.doi.org/10.1017/s1355771800005021.

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In some informal remarks I made at a conference in 1979, I expressed a reluctance to deal with the subject of aesthetics, which historically is a product of European philosophy and which remains a troublesome concept for contemporary music where an aesthetic term such as ‘beauty’ seems to be studiously ignored (Truax 1980). In a recent, also informal article (Truax 1999) addressed as a ‘letter to a twenty-five-year old electroacoustic composer’, I predicted that the term ‘computer music’ would probably disappear since in an age where the computer is involved in nearly all electroacoustic music production, this term, which once distinguished a type of music from that made with analogue, electronic equipment, seemed today to be impossible to define rigorously. Therefore, the concept of the ‘aesthetics of computer music’, proposed as a panel discussion topic, initially seemed to me to be doubly suspect as to its meaning.

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18

Dimic, Zoran. "On artistic shaping of citizens’ political gatherings". Filozofija i drustvo 24, n.º 3 (2013): 23–33. http://dx.doi.org/10.2298/fid1303023d.

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Following the new reading of Kant?s third critique, which was proposed by Hannah Arendt in her Lectures on Kant?s Political Philosophy, in this paper, the author deals with the function of art in the establishment, organization and profiling of political communities. The focus is primarily on the field of music. The analysis begins with ancient philosophers (Pythagoras, Plato, Aristotle) and continues with the problems which relate to artistic shaping of citizens? lives in modern epoch (Rousseau, Kant, Schiller). The goal of the paper is to show that the philosophy of art and the philosophy of music, could be taken as a political philosophy, precisely because the analysis of these phenomena constantly convinces a close intertwining of politics and aesthetics, i.e. art and power, music and power. As a conclusion, we might say that a general aesthetic sense can be seen as a kind of human organ for public aesthetic gathering of citizens. Music, poetry, visual arts, etc., have become tools for the political shaping of citizens, i.e. the tools of their political life.

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19

Davies, S. "Aesthetics and Music * By ANDY HAMILTON". Analysis 69, n.º 2 (1 de abril de 2009): 397–98. http://dx.doi.org/10.1093/analys/anp020.

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20

Scruton, Roger. "Review: Andy Hamilton: Aesthetics and Music". Mind 117, n.º 467 (1 de julio de 2008): 702–5. http://dx.doi.org/10.1093/mind/fzn096.

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21

Guanti, Giovanni. "Teaching the Aesthetics of Music Today". Topoi 28, n.º 2 (21 de agosto de 2009): 125–28. http://dx.doi.org/10.1007/s11245-009-9056-5.

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22

Hong, Sa-hyeon. "Between Aesthetics of Feeling and Absolute Music - Schopenhauer’s Philosophy of Music -". Korean Philosophical Society 139 (23 de agosto de 2016): 265–313. http://dx.doi.org/10.20293/jokps.2016.139.265.

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23

Kreis, Guido. "Xunzi and Zhuangzi on Music: Two Ways of Modeling the Ethical Significance of Art". Journal of Chinese Philosophy 50, n.º 1 (5 de abril de 2023): 64–80. http://dx.doi.org/10.1163/15406253-12340090.

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Abstract This paper analyses two early Chinese ways of modeling the ethical significance of art using music as an example. I shall focus on the Xunzi 《荀子》 as a paradigmatic statement of Confucian views, and selected passages from the Zhuangzi 《莊子》 as an exemplary manifestation of Daoist aesthetics. I argue that the Xunzi opts for a direct ethical impact of music, while it does not rely on an independent aesthetic conception of the goodness of music. By contrast, I argue that the Zhuangzi discusses music on the grounds of an independent aesthetic conception of its goodness, while music can only claim an indirect ethical significance. Both models are mutually exclusive. This gives reason to believe that the Xunzi and the Zhuangzi present us with the two systematically possible ways of modeling the ethical impact of art.

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24

Hamilton, Andy. "The Aesthetics of Imperfection". Philosophy 65, n.º 253 (julio de 1990): 323–40. http://dx.doi.org/10.1017/s0031819100057636.

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Ferruccio Busoni's Sketch of a New Aesthetic of Music appeared in 1910. Schoenberg, in his copy of the little book, wrote critical marginal comments which crystallize two opposed outlooks in musical aesthetics. Busoni writes:Notation, the writing out of compositions, is primarily an ingenious expedient for catching an inspiration, with the purpose of exploiting it later. But notation is to improvisation as the portrait is to the living model……What the composer's inspiration necessarily loses through notation, his interpreter should restore by his own…

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25

Azeez Gardi, Zhwan Abdul-Salam. "Aesthetics (Importance and Philosophy) Some Aspects of The New Poets’ Poems as Samples". JOURNAL OF LANGUAGE STUDIES 6, n.º 3, 1 (1 de abril de 2023): 279–83. http://dx.doi.org/10.25130/jls.6.3.1.21.

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This study attempts to present the importance and philosophy of the aesthetics devices through the new poets’ poems, this is because aesthetics discipline is one of the significant aspects of rhetorics that the poets used in writing their poems. The aesthetics works and interacts with the music all the way up to create beauty and meaning inside and among the words and the lines, and finally to make miscellaneous images in the most beautiful style and possible ways either in the lexical aesthetics andor in the meaning one. This study comprises of a preface and two sections: the preface provides aesthetics theory. In the first section, those aesthetics devices have been examined that produce music in various ways. In the second section, those aesthetics devices have been investigated that strengthen meaning. After examining these roles and aspects of aesthetics, the main findings and the sources consulted in this study are presented.

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26

Iseminger, Gary y Roger Scruton. "The Aesthetics of Music". Journal of Aesthetics and Art Criticism 57, n.º 3 (1999): 374. http://dx.doi.org/10.2307/432207.

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27

Pouivet, R. "Music and Humanism: An Essay in the Aesthetics of Music". British Journal of Aesthetics 42, n.º 1 (1 de enero de 2002): 97–99. http://dx.doi.org/10.1093/bjaesthetics/42.1.97.

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28

Hadi, Sumasno. "Estetika Lagu Banjar Populer: Suatu Representasi Kultural, Pengalaman Eksistensial, dan Nilai Sosial Masyarakat Banjar". KAMBOTI: Jurnal Sosial dan Humaniora 1, n.º 2 (29 de abril de 2021): 106–13. http://dx.doi.org/10.51135/kambotivol1iss2pp106-113.

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Abstract The philosophical aspects of art (aesthetics) explored in this study refer to the popular Banjar songs (with a sample of 14 song titles). Therefore, the vision of discussing the aesthetics of the popular Banjar song is appropriate to expose, extract, and uplift its ontological, epistemological and axiological values. This study is a qualitative-descriptive type of research with aesthetic study approach (wetland environmental aesthetics), with the object of popular Banjar songs. From this design, the data analysis method uses two approaches, namely: music analysis and art philosophy analysis (philosophical aesthetics). The results of this study found that the aesthetic concept of the popular Banjar song refers to the following three philosophical aspects. First, the metaphysical value or substance of the popular Banjar song which lies in its two ontological realities, namely musical expressions and song lyrics in the Banjar language as a representation of Banjar culture. Second, the value of knowledge and art truth (aesthetic epistemology) of the popular Banjar song tends to be in the framework of the philosophy of empiricism, namely the knowledge and truth of art that prioritizes the existential experience of the subject. Third, the social value of the popular Banjar song that stands out is the discourse on work ethic which is based on the value of religiosity, while the prominent political value (social institution) is family education. Keywords: aesthetics, philosophy of beauty, Banjar song, beauty, music Abstrak Aspek-aspek filsafat seni (estetika) yang digali pada kajian ini menunjuk pada lagu-lagu populer Banjar (dengan sampel 14 judul lagu). Oleh karenanya, visi pembahasan estetika lagu Banjar populer ini adalah selayaknya usaha pendedahan, penggalian, dan pengangkatan nilai ontologis, epistemologis dan nilai aksiologisnya. Kajian ini merupakan penelitian berjenis kualitatif-deskriptif dengan pendekatan kajian estetika (estetika lingkungan lahan basah), dengan objek lagu-lagu Banjar populer. Dari desain ini, maka metode analisis datanya menggunkan dua pendekatan yaitu: analisis musik dan analisis filsafat seni (estetika filosofis). Hasil kajian ini menemukan bahwa konsep estetika lagu Banjar populer menunjuk pada tiga aspek filosofis berikut. Pertama, nilai metafisik atau substansi lagu Banjar populer yang berada pada dua realitas ontologisnya yaitu ekspresi musikal serta lirik lagu berbahasa Banjar sebagai representasi kultur Banjar. Kedua, nilai pengetahuan dan kebenaran seni (espistemologi estetik) lagu Banjar populer cenderung pada kerangka filsafat empirisme, yakni pengetahuan dan kebenaran seni yang mengutamakan pengalaman eksistensial subjekny. Ketiga, nilai sosial lagu Banjar populer yang menonjol adalah wacana tentang etos kerja yang didasari oleh nilai religiusitas, sedangkan nilai politis (pranata sosial) yang menonjol adalah pendidikan keluarga. Kata kunci: estetika, filsafat keindahan, lagu Banjar, keindahan, musik

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Park, So-Jeong. "Musical Metaphors in Chinese Aesthetics". Journal of Chinese Philosophy 47, n.º 1-2 (3 de marzo de 2020): 31–48. http://dx.doi.org/10.1163/15406253-0470102006.

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According to the conceptual metaphor theory, a metaphor is not just a rhetorical device but rather a fundamental conceptual framework operating at the level of thinking. When one describes a painting as “musically moving” or “melodious,” one transfers a conceptual framework of music from its typical domain into a new domain where neither musical movement nor melody takes place. In this light, the extensive use of musical metaphors based on qì-dynamics such as “rhythmic vitality” or “literary vitality” for art criticism in early China can be deemed as conceptual mappings between music and other arts. Also, musical metaphors in Chinese aesthetics evidently work as guiding principles in individual art theories.

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Kondakov, Igor Vadimovich. "Music versus Politics". Pan-Art 3, n.º 1 (10 de enero de 2023): 78–82. http://dx.doi.org/10.30853/pa20230001.

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This essay presents the situation concerning the music philosophy in the XX century: the factor of politics gradually was established in the paradigm of artistic culture. It is shown that the politics became a permanent violence in relation to art as in relation to life. This permanent violence is a will for power or a clear will for dominating life and art which can move apart and then inextricably intertwine. Thus, the politics appears in her unconventional artistic and aesthetic discourse: being aesthetic in life and artistic in art. In this paper the phenomenon of the origin of the indivisibility and immeasurable formula is characterized. Since then, life and politics cannot do without art which is their mirror as well as art tries to distance itself from society and politics but cannot break free of the shackles of the socio-political context and the relevant pragmatic discourse. This discourse leaves an indelible imprint on everything connected with art and aesthetics.

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31

Miller, Jason. "What Makes Heavy Metal ‘Heavy’?" Journal of Aesthetics and Art Criticism 80, n.º 1 (25 de noviembre de 2021): 70–82. http://dx.doi.org/10.1093/jaac/kpab065.

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Abstract In this article, I raise a simple but surprisingly vexing question: What makes heavy metal heavy? We commonly describe music as “heavy,” whether as criticism or praise. But what does “heavy” mean? How is it applied as an aesthetic term? Drawing on sociological and musicological studies of heavy metal, as well as recent work on the aesthetics of rock music, I discuss the relevant musical properties of heaviness. The modest aim of this article, however, is to show the difficulty, if not impossibility, of this seemingly straightforward task. I first address the difficulties of identifying the defining features, or “Gestalt,” of heavy metal that would allow us to treat heaviness as a genre concept. Next, I discuss both the merits and the limits of analyzing heaviness in terms of an aesthetics of “noise” in rock music developed in recent philosophy of music. In the remaining sections, I consider other nonaesthetic features relevant to aesthetic judgments of heaviness and show that the term ‘heavy’ is conceptually inarticulable, if not irreducible. This, I conclude, has partly to do with the radically different, sometimes incompatible, musical properties present in the perception of musical heaviness.

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32

Johnson, Julian. "MUSIC IN HEGEL'S AESTHETICS: A RE-EVALUATION". British Journal of Aesthetics 31, n.º 2 (1991): 152–62. http://dx.doi.org/10.1093/bjaesthetics/31.2.152.

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33

Mahmud, Nazia B. "The Aesthetic Asceticism of the Mad". COMPASS 3, n.º 1 (29 de septiembre de 2023): 8–19. http://dx.doi.org/10.29173/comp68.

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The Bauls of Bangladesh, West Bengal, and other parts of India are a distinct ascetic sect that practices spirituality through songs, music, and poetry that were passed down orally from a teacher (Guru) to a disciple (Shirsha). Their ideology is a mix of yogic-tantric practices of Buddhist Sahajiya, Vaishnavism Sahajiya, and later Sufi thoughts. Bauls are often called a heretic sect because of their rejection of institutionalized religion, consumerism, society, and, for many Bauls, even marriage. Baul songs and spirituality emphasize the search for the connection between man and the Divine and love and symbolize the Bengali folk identity. In this paper, placing Baulism within the Anthropology of Art vs. Aesthetics discourse, I show how Baul songs, and their lifestyle can be both. I discuss the rising appropriation of Baul folk music and aesthetics by modern media and in capitalist spaces and how it started to gain traction when the elite society started to acknowledge Bengali folk music. Baul giti (song) is an established genre of music, and they tend to mediate between both art while providing aesthetic appreciation. With the rise of village core aesthetics and romanticization, their music, style, and philosophy have found new spaces in media, fashion, and business.

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34

Humphries, C. "Review: Music and Humanism: An Essay in the Aesthetics of Music". Mind 111, n.º 442 (1 de abril de 2002): 482–87. http://dx.doi.org/10.1093/mind/111.442.482.

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Pyrova, Tatiana Leonidovna. "Philosophical-aesthetic foundations of African-American hip-hop music". Философия и культура, n.º 12 (diciembre de 2020): 56–62. http://dx.doi.org/10.7256/2454-0757.2020.12.34717.

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This article is dedicated to the philosophical-aesthetic foundations of African-American hip-hop music of the late XX century. Developed by the African philosopher Leopold Senghor, the author of the theory of negritude, concept of Negro-African aesthetics laid the foundations for the formation of philosophical-political comprehension and development of the principles of African-American culture in the second half of the XX century in works of the founders of “Black Arts” movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impact upon cultural-political movement “Black Art”; reveals which position of his aesthetic theory and cultural-political movement “Black Arts” affected hip-hop music. The author refers to the concept of “vibe” for understanding the influence of Negro-African aesthetics upon the development of hip-hop music. The impact of aesthetic theory of Leopold Senghor upon the theoretical positions of cultural-political movement “Black Arts” is demonstrated. The author also compares the characteristics of the Negro-African aesthetics and the concepts used to describe hip-hop music, and determines correlation between them. The conclusion is made that the research assessment of hip-hop music and comparative analysis of African-American hip-hop with the examples of global hip-hop should pay attention to the philosophical-aesthetic foundations of African-American hip-hop and their relation to Negro-African aesthetics, which differs fundamentally from the European aesthetic tradition.

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36

Razbeglova, Tatyana P. "Immanuel Kant on Music: Paradoxes of Aesthetic Rationalism". Contemporary Musicology, n.º 4 (2021): 79–94. http://dx.doi.org/10.56620/2587-9731-2021-4-079-094.

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The article explores the reasons behind the inconsistency of Kant's perspective on the art of music. Kant’s aesthetics is a strict and harmonious system underpinning the analysis of aesthetic consciousness. His views produced a huge impact on the subsequent development of aesthetic thought. Despite certain contradictions, the Kantian philosophical system and, in particular, his aesthetic views are of timeless value. In this respect, it is paramount to explore these contradictions and understand their role in the Kantian philosophy. Kant was repeatedly reproached for his formal approach to aesthetics that disregards artistic practice. However, it was not criticism but, rather, direct apologetics of Kant's philosophical vision promoted among his followers that led to aesthetic formalism. In other words, the rationality of thinking was transferred on the very object of exploration—the art. Kant's comments on music, as an integral part of his aesthetic theory, are formal and sparing. They contrast with a growing role of music in the cultural landscape at the turn of the 18th and 19th centuries and the scope of Kant’s commentary given to other arts. Nonetheless, the aesthetic value of music was still recognised as music was listed in Kant's classification of arts. Our research has concluded that the reasons behind Kant’s inconsistencies are not limited to the well-known gap between the aesthetic object and the judgment about it. Another reason is his conscious detachment from contemporary musical practice, and, more broadly, from the irrational essence of music which he implicitly felt. Kant's rejection of sensory and emotional perception of music in favor of its rational interpretation identified one of the key issues for the future research agenda in aesthetics. The question of whether it is possible to perceive music as a non-conceptual art with the help of rational thinking alone emerged from the contradictions of Kant's aesthetic. This issue has not lost its relevance. In fact, it has created the basis for modern transformations of musical art towards pronounced intellectualism. The identification of the essence and grounds for Kant’s contradictions will allow to fend off accusations of formalism put forward by his followers and critics.

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Poškaitė, Loreta. "Everyday Aesthetics in the Dialogue of Chinese and Western Aesthetic Sensibilities". Dialogue and Universalism 30, n.º 3 (2020): 225–44. http://dx.doi.org/10.5840/du202030344.

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The paper examines the intercultural dimension of everyday aesthetics which was promoted by one of its most important Chinese proponents Liu Yuedi as a search for dialogue between various aesthetic traditions, in particular, those from the East and West. The aim of the paper is to explore some parallels between the traditional Chinese and contemporary Western aesthetic sensibilities, by looking for their common values and concepts which are gaining prominence in the discourse of everyday aesthetics. It begins with a survey of the contributions of Chinese and Western scholars; the survey concerns the relevance of Chinese (Confucian and Daoist) traditional aesthetics for everyday aesthetics, and examines particular features of the nature of perception in everyday aesthetics which is common to Chinese and Western artistic activities, aesthetic discourses and their conceptualizations. In the second section I discuss the “intercultural” concept of atmosphere as the de-personalized or “transpersonal”/intersubjective, vague and all-inclusive experience of the situational mood and environmental wholeness. I explore and compare the reflection of its characteristics in Western scholarship and Chinese aesthetics, especially in regard to the aural perception and sonic sensibility. The final section provides a comparative analysis of few examples of the integration of music into the environmental or everyday surrounding—in Daoist philosophy and Chinese everyday aesthetics, and Western avant-garde art (precisely, musical composition by John Cage 4’33). The analysis is concentrated on the perception of music in relation to the experience of atmosphere and everyday aesthetics, as they were defined in the previous sections. The paper challenges the “newness” of everyday aesthetics, especially if it is viewed from the intercultural perspective, and proposes the separation of its discourses into the investigation of its past and present.

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Zelić, Tomislav. "The Nondiscursive Aesthetics of Music, Lyric Poetry, and Tragedy". Philosophy and Literature 47, n.º 2 (octubre de 2023): 342–58. http://dx.doi.org/10.1353/phl.2023.a913810.

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Abstract: Is it possible to speak about the unspeakable as it is represented in music, lyric poetry, and tragedy? The answer is yes, if we adopt a purely aesthetic perspective. The answer is no, if we adopt the perspective of the transcendental subject as the metaphysical source of music, lyric poetry, and tragedy. In this paper, I conceptualize the nondiscursivity of music, lyric poetry, and Attic tragedy in the philosophical aesthetics of Kant, Schopenhauer, and Nietzsche. I also make a few incidental remarks to Plato's Socrates and Aristotle as well as the Theban plays by Sophocles.

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Bett, Richard. "A Sceptic Looks at Art (but not Very Closely): Sextus Empiricus on Music". International Journal for the Study of Skepticism 3, n.º 3 (2013): 155–81. http://dx.doi.org/10.1163/22105700-03021116.

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The paper examines Sextus Empiricus’ Against the Musicians (M 6), one of the least studied portions of Sextus’ surviving work, against the background of the more general question why he has so little to say on questions that for us would fall under aesthetics. The structure and goals of the book are considered, along with some puzzles about the consistency of his aims. Each of the two main parts is then analyzed separately, including a comparison between the first part and Philodemus’ On Music. Sextus’ apparent lack of interest in aesthetics is explained primarily by his quite general tendency to focus on foundational questions, of which the second part of M 6 is a notable instance; another, connected factor is the common ancient habit (illustrated in the first part of M 6) of treating aesthetic questions in conjunction with ethical or political ones.

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40

Scruton, Roger. "Music and Cognitive Science". Royal Institute of Philosophy Supplement 75 (octubre de 2014): 231–47. http://dx.doi.org/10.1017/s1358246114000277.

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It has always been controversial to make a sharp distinction between the philosophical and the psychological approaches to aesthetics; and the revolution brought about by cognitive science has led many to believe that the philosophy of art no longer controls a sovereign territory of its own. To take one case in point: recent aesthetics has addressed the problem of fiction, asking how it is that real emotions can be felt towards merely imagined events. Several philosophers have tried to solve this problem by leaning on observations in psychology – Jenefer Robinson, for example, exploring the domain of pre-conscious and non-rational responses, and Greg Currie, invoking simulation theory from the realm of cognitive science. I am not yet persuaded that either has succeeded in solving the philosophical question: but the fact that such sophisticated and well-informed philosophers should begin from studies in empirical psychology says much about how the subject of aesthetics has changed since the early days of linguistic analysis.

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41

Yuan, Jixi. "Being Mild and Gentle, Sincere and Broadminded and Chinese Aesthetic Psychology". International Confucian Studies 1, n.º 1 (1 de junio de 2022): 125–44. http://dx.doi.org/10.1515/icos-2022-2007.

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Abstract Appearing for the first time in the chapter “Explanation of the Six Arts” of The Book of Rites, the term “being mild and gentle, sincere and broadminded” reflects Chinese aesthetic psychology. Based on the philosophy of the Mean and harmony, the term fuses poetry with music and extends them to the aesthetics of literature and art. It preserves the concept of harmony dating to the Zhou Dynasty (1046 B.C.E.–256 B.C.E.). After being explained by Confucius and expounded by Dai Sheng, the compiler of The Book of Rites, it influenced the studies of The Book of Songs and music theory of the Han Dynasty (206 B.C.E.–220 C.E.). It laid the foundation of the aesthetic psychology of the Chinese nation and still retains strong vitality.

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42

Bidon-Chanal, Sol. "Hearing A New World: The Aesthetic Use of Technology in Pop-Rock". Aisthesis. Pratiche, linguaggi e saperi dell’estetico 15, n.º 2 (6 de febrero de 2023): 163–76. http://dx.doi.org/10.36253/aisthesis-11922.

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At odds with the relevance it has as object of aesthetical experience around the world, pop-rock music is still a rare subject in philosophical inquiry. Nonetheless, it has arisen growing interest in the last two decades, particularly in the Anglo-Saxon tradition. In such context, this paper intends to give an overview of the philosophical contributions on the subject made so far, and provide some guidelines for its study in the field of aesthetics. After reconstructing the debate, starting from Theodor W. Adorno’s thoughts on mass music as prolegomena and arriving at the so-called “ontologies of rock”, this article takes an aesthetic point of view concerning the specificity of pop-rock and argues that the decisive aspect of the genre in the choir of popular musical expressions lies in the unique role of technology applied in its production.

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GRITTEN, ANTHONY. "Aesthetics and Music by hamilton, andy". Journal of Aesthetics and Art Criticism 69, n.º 3 (agosto de 2011): 342–44. http://dx.doi.org/10.1111/j.1540-6245.2011.01476_7.x.

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ISEMINGER, GARY. "Roger Scruton, The Aesthetics of Music". Journal of Aesthetics and Art Criticism 57, n.º 3 (1 de junio de 1999): 374–75. http://dx.doi.org/10.1111/1540_6245.jaac57.3.0374.

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45

Kolomiets, G. G. "A. F. Losev on the Neoplatonic Essence of Music in the Context of the Philosophy of Substantial Musical Existence (to the 130th Anniversary of the Birth of Aleksey Fedorovich Losev)". Intellect. Innovations. Investments, n.º 5 (2023): 121–29. http://dx.doi.org/10.25198/2077-7175-2023-5-121.

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The article is written in connection with the anniversaries of the life of the great Russian thinker Alexey Fedorovich Losev and is devoted to one of the aspects of his aesthetic research related to the interpretation of music in Neoplatonism. This article makes sense to emphasize the substantial ontological essence of music, relying on Losev’s phenomenological-dialectical method, on his commitment to Neoplatonism as the last significant ancient philosophical movement. Losev considered the philosophical foundations of music in the cosmological treatises of such philosophers as Quintilian, Proclus, Sallust. Touching upon the ancient origins of the philosophy of music as an aesthetic field, the author refers to the Pythagorean teaching of the divine number and the musical harmony of the spheres. At the same time, Neoplatonic ancient philosophy demonstrates different types of existence of music, or ancient Greek music. The combination of the logical and the illogical in Losev’s philosophical thinking allows the author to present through the prism of the philosophy of substantial musical existence the closeness of the idea of the existence of the music of the Neoplatonists, proceeding from the ideas of the One, and Losev, the divine unity, where the thought of music goes far beyond the limits of the actual musical art. Music in philosophical knowledge is outside of art as world harmony, substance, becoming in time, divine number, or the life of numbers, the expression of the numerical first principle. In the sources, the author used the works of A. F. Losev: “The History of ancient Aesthetics”, “Dialectics of myth”, “Dialectical foundations of mathematics”, which presents a deep connection between mathematics and music. At the same time, the author relied on his aesthetic research “The Logos of music in the phenomenological-dialectical method of A. F. Losev”, and other chapters of his book “The Value of Music: a philosophical aspect” and his dissertation “The concept of the value of music as a substance and a way of value interaction of a person with the world”. Summarizing, the author moves from the dialectic of musical-substantial being to the philosophical concept of “musical” as an aesthetic category that requires further research.

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46

Mazzoni, Augusto. "Perspectives of music theory in Waldemar Conrad’s aesthetics". Axiomathes 9, n.º 1-2 (abril de 1998): 223–33. http://dx.doi.org/10.1007/bf02681714.

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Rostankowski, Cynthia y Ian Jarvie. "Philosophy of the Film: Epistemology, Ontology, Aesthetics". Journal of Aesthetics and Art Criticism 47, n.º 4 (1989): 384. http://dx.doi.org/10.2307/431142.

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Margolis, Joseph. "Reconciling Analytic and Feminist Philosophy and Aesthetics". Journal of Aesthetics and Art Criticism 48, n.º 4 (1990): 327. http://dx.doi.org/10.2307/431570.

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MARGOLIS, JOSEPH. "Reconciling Analytic and Feminist Philosophy and Aesthetics". Journal of Aesthetics and Art Criticism 48, n.º 4 (1 de septiembre de 1990): 327–36. http://dx.doi.org/10.1111/1540_6245.jaac48.4.0327.

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Lambert, Andrew. "From Aesthetics to Ethics: The Place of Delight in Confucian Ethics". Journal of Chinese Philosophy 47, n.º 3-4 (3 de marzo de 2020): 154–73. http://dx.doi.org/10.1163/15406253-0470304004.

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An exploration of the role of pleasure or delight (le 樂) in classical Confucian ethics. Building on Michael Nylan’s account of the role of pleasure in public spectacle and social order, I explore how the meaning of delight (le 樂) derives from the features and effects of music (yue 樂). Drawing on Dewey’s aesthetics and accounts of music in Confucian texts, I explore a conception of Confucian ethics, in which delight—like states generated through everyday social interaction are foundational.

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