Статті в журналах: "Music – Philosophy and aesthetics"

1

Sunarto, Sunarto. "Pemikiran Hanslick tentang Estetika dan Kritik Musik." PROMUSIKA 3, no. 2 (November 23, 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.

2

Magdalena, Elsa, Destri Natalia, Andry Pranata, and Nicolhas Jurdy Wijaya. "Filsafat dan Estetika Menurut Arthur Schopenhauer." Clef : Jurnal Musik dan Pendidikan Musik 3, no. 2 (December 31, 2022): 61–77. http://dx.doi.org/10.51667/cjmpm.v3i2.1111.

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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.

3

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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4

Šuvaković, Miško. "Critical Questiones About Deconstrution or About De-Centring Of The Relation Between Philosophy And Music." Musicological Annual 41, no. 2 (December 1, 2005): 71–80. http://dx.doi.org/10.4312/mz.41.2.71-80.

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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.

5

Levinson, Jerrold, and Roger Scruton. "The Aesthetics of Music." Philosophical Review 109, no. 4 (October 2000): 608. http://dx.doi.org/10.2307/2693633.

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6

Bidney, Martin. "The Aesthetics of Music." International Studies in Philosophy 36, no. 1 (2004): 289–90. http://dx.doi.org/10.5840/intstudphil200436160.

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7

Levinson, J. "THE AESTHETICS OF MUSIC." Philosophical Review 109, no. 4 (October 1, 2000): 608–14. http://dx.doi.org/10.1215/00318108-109-4-608.

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8

Oliva, Stefano. "Risonanze della Teoria della Formatività di Luigi Pareyson nell’Estetica Musicale Contemporanea." Philosophy of Music 74, no. 4 (December 30, 2018): 1077–92. http://dx.doi.org/10.17990/rpf/2018_74_4_1077.

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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».

9

Fry, Katherine. "Not a “Telephone to the Beyond”: Nietzsche's Early Writings on Music." 19th-Century Music 42, no. 1 (2018): 53–70. http://dx.doi.org/10.1525/ncm.2018.42.1.53.

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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.

10

Graham, Gordon. "Aesthetics and Sacred Music." Faith and Philosophy 31, no. 3 (2014): 243–55. http://dx.doi.org/10.5840/faithphil201481313.

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11

Zangwill, Nick. "Scruton's Musical Experiences." Philosophy 85, no. 1 (January 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.

12

Davies, S. "Aesthetics and Music * By ANDY HAMILTON." Analysis 69, no. 2 (April 1, 2009): 397–98. http://dx.doi.org/10.1093/analys/anp020.

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13

Scruton, Roger. "Review: Andy Hamilton: Aesthetics and Music." Mind 117, no. 467 (July 1, 2008): 702–5. http://dx.doi.org/10.1093/mind/fzn096.

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14

Guanti, Giovanni. "Teaching the Aesthetics of Music Today." Topoi 28, no. 2 (August 21, 2009): 125–28. http://dx.doi.org/10.1007/s11245-009-9056-5.

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15

TRUAX, BARRY. "The aesthetics of computer music: a questionable concept reconsidered." Organised Sound 5, no. 3 (December 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.

16

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

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17

Dimic, Zoran. "On artistic shaping of citizens’ political gatherings." Filozofija i drustvo 24, no. 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.

18

Hamilton, Andy. "The Aesthetics of Imperfection." Philosophy 65, no. 253 (July 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…

19

Iseminger, Gary, and Roger Scruton. "The Aesthetics of Music." Journal of Aesthetics and Art Criticism 57, no. 3 (1999): 374. http://dx.doi.org/10.2307/432207.

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20

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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21

Park, So-Jeong. "Musical Metaphors in Chinese Aesthetics." Journal of Chinese Philosophy 47, no. 1-2 (March 3, 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.

22

Hadi, Sumasno. "Estetika Lagu Banjar Populer: Suatu Representasi Kultural, Pengalaman Eksistensial, dan Nilai Sosial Masyarakat Banjar." KAMBOTI: Jurnal Sosial dan Humaniora 1, no. 2 (April 29, 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

23

Johnson, Julian. "MUSIC IN HEGEL'S AESTHETICS: A RE-EVALUATION." British Journal of Aesthetics 31, no. 2 (1991): 152–62. http://dx.doi.org/10.1093/bjaesthetics/31.2.152.

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24

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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Miller, Jason. "What Makes Heavy Metal ‘Heavy’?" Journal of Aesthetics and Art Criticism 80, no. 1 (November 25, 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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Pyrova, Tatiana Leonidovna. "Philosophical-aesthetic foundations of African-American hip-hop music." Философия и культура, no. 12 (December 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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Bett, Richard. "A Sceptic Looks at Art (but not Very Closely): Sextus Empiricus on Music." International Journal for the Study of Skepticism 3, no. 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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Poškaitė, Loreta. "Everyday Aesthetics in the Dialogue of Chinese and Western Aesthetic Sensibilities." Dialogue and Universalism 30, no. 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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Scruton, Roger. "Music and Cognitive Science." Royal Institute of Philosophy Supplement 75 (October 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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GRITTEN, ANTHONY. "Aesthetics and Music by hamilton, andy." Journal of Aesthetics and Art Criticism 69, no. 3 (August 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, no. 3 (June 1, 1999): 374–75. http://dx.doi.org/10.1111/1540_6245.jaac57.3.0374.

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Yuan, Jixi. "Being Mild and Gentle, Sincere and Broadminded and Chinese Aesthetic Psychology." International Confucian Studies 1, no. 1 (June 1, 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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Bidon-Chanal, Sol. "Hearing A New World: The Aesthetic Use of Technology in Pop-Rock." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 15, no. 2 (February 6, 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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Mazzoni, Augusto. "Perspectives of music theory in Waldemar Conrad’s aesthetics." Axiomathes 9, no. 1-2 (April 1998): 223–33. http://dx.doi.org/10.1007/bf02681714.

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Rostankowski, Cynthia, and Ian Jarvie. "Philosophy of the Film: Epistemology, Ontology, Aesthetics." Journal of Aesthetics and Art Criticism 47, no. 4 (1989): 384. http://dx.doi.org/10.2307/431142.

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36

Margolis, Joseph. "Reconciling Analytic and Feminist Philosophy and Aesthetics." Journal of Aesthetics and Art Criticism 48, no. 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, no. 4 (September 1, 1990): 327–36. http://dx.doi.org/10.1111/1540_6245.jaac48.4.0327.

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38

Lambert, Andrew. "From Aesthetics to Ethics: The Place of Delight in Confucian Ethics." Journal of Chinese Philosophy 47, no. 3-4 (March 3, 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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Roblin, Ronald E. "Jerrold Levinson., Music, Art, and Metaphysics: Essays in Philosophical Aesthetics." International Studies in Philosophy 26, no. 2 (1994): 132–33. http://dx.doi.org/10.5840/intstudphil1994262156.

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BAUGH, BRUCE. "Prolegomena To Any Aesthetics of Rock Music." Journal of Aesthetics and Art Criticism 51, no. 1 (December 1, 1993): 23–30. http://dx.doi.org/10.1111/1540_6245.jaac51.1.0023.

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41

Dopo, Florentianus, and Yudi Sukmayadi. "The Musical Structure and Meaning of Go Laba in the Context of People’s Life Philosophy in Ngadha Culture, Flores, East Nusa Tenggara." Harmonia: Journal of Arts Research and Education 18, no. 2 (January 3, 2019): 171–80. http://dx.doi.org/10.15294/harmonia.v18i2.9976.

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Art is an integral aspect of culture. Almost all aspects of human life are always wrapped in some form of art. Indonesia is a country that has diverse artistic expressions. Different from Western arts that emphasize the element of aesthetics, traditional arts in various cultures in the Eastern world display elements that are more than just aesthetics. Other intended elements include the values or the life philosophy of the owner community. Traditional music always has two components that can not be separated from one another: textual and contextual aspects. Understanding a musical tradition should cover both aspects in their entirety. This paper aims to expose the contextual aspects of a musical tradition of Ngadha, Flores, NTT called go laba. The contextual aspect in question is the values or life philosophy of the community represented through this traditional music.

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Thibeault, Matthew D. "Dewey’s Musical Allergy and the Philosophy of Music Education." Journal of Research in Music Education 68, no. 1 (January 15, 2020): 31–52. http://dx.doi.org/10.1177/0022429419896792.

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This historical study explores John Dewey’s ideas regarding music and music education through primary sources (his published writings, correspondence, and transcriptions of class lectures) and secondary sources (biographies and related scholarly literature). Dewey’s belief that he was unmusical is presented, including via a consideration of his novel conception of rhythm absent musical examples. Despite this belief, this study posits a case for a musical Dewey. This is presented through examples in his work that, while scattered, demonstrate several themes: that music is rooted in ritual and social experience, that it is embodied with regard both to creation and perception, and that it has important connections to everyday life. Dewey’s dislike of jazz is interpreted as a resistance to commercialized and commoditized mass culture. The progressive music program at the University of Chicago’s Laboratory School that Dewey established exemplifies his commitment to music education, and new research connects that progressive program to Hull House and Jane Addams through the shared employment of music teacher Eleanor Smith. The discussion considers how Dewey’s musical ideas complement his painterly aesthetics and also calls for a resistance to unmusicality as a conception, instead turning toward music as innate to all humans.

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Winborn, Mark Douglas. "Aesthetic experience and analytic process." International Journal of Jungian Studies 7, no. 2 (May 4, 2015): 94–107. http://dx.doi.org/10.1080/19409052.2014.924424.

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In this paper, it is proposed that all individuals have an innate (archetypal) aesthetic urge that is a central organizing influence for our actions, experiences, perceptions, self-perceptions, and relationships. The attitudes towards aesthetics held by Freud, Jung, and later theorists are reviewed. Drawing on ideas from aesthetic philosophy and neuroscience, it is suggested that many of the experiences associated with analytic process – such as the experience of depth, the emergence of meaning, transcendence, coherence, narrative flow, or moments of meeting – can be viewed through the lens of aesthetic experience. This aesthetic substratum is discussed in terms of analytic narrative and interpretation as well as exploring the impact that various artistic modalities, such as poetry and music, can have on analytic process.

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Currie, Adrian, and Anton Killin. "Not Music, but Musics: A Case for Conceptual Pluralism in Aesthetics." Estetika: The European Journal of Aesthetics 54, no. 2 (September 1, 2017): 151. http://dx.doi.org/10.33134/eeja.161.

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Selk, Eugene E., and Anne Sheppard. "Aesthetics: An Introduction to the Philosophy of Art." Journal of Aesthetics and Art Criticism 47, no. 1 (1989): 93. http://dx.doi.org/10.2307/432002.

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HOROWITZ, GREGG. "Aesthetics: Key Concepts in Philosophy by herwitz, daniel." Journal of Aesthetics and Art Criticism 67, no. 3 (June 2009): 343–45. http://dx.doi.org/10.1111/j.1540-6245.2009.01363_5.x.

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Hanly, Peter. "Hegel's Voice: Vibration and Violence." Research in Phenomenology 39, no. 3 (2009): 359–73. http://dx.doi.org/10.1163/008555509x12472022364082.

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AbstractThis essay is a consideration of Hegel's account of the voice. Responding, in the first instance, to Derrida's discussion of what he terms Hegel's 'semiology,' the article attempts to map out complexities in Hegel's account of voice that tend to resist absorption into the trajectory that Derrida has outlined. Hegel's discussion of music in the Aesthetics will be the focus, and an attempt is made to link the emergence of the musical voice to the fundamental determinations of time and of sound in the Philosophy of Nature. Finally, the essay will connect Hegel's understanding of music with the primordial appearance of voice in the anthropology of the Philosophy of Spirit.

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Gracyk, Theodore. "The Value of Popular Music: An Approach from Post-Kantian Aesthetics." British Journal of Aesthetics 59, no. 4 (September 17, 2019): 485–87. http://dx.doi.org/10.1093/aesthj/ayz036.

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Waugh, Joanne B. "Analytic Aesthetics and Feminist Aesthetics: Neither/Nor?" Journal of Aesthetics and Art Criticism 48, no. 4 (1990): 317. http://dx.doi.org/10.2307/431569.

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WAUGH, JOANNE B. "Analytic Aesthetics and Feminist Aesthetics: Neither/Nor?" Journal of Aesthetics and Art Criticism 48, no. 4 (September 1, 1990): 317–26. http://dx.doi.org/10.1111/1540_6245.jaac48.4.0317.

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