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Dissertations / Theses on the topic 'Music and philosophy'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Eiholzer-Silver, Hubert. "Understanding music : problems in the philosophy of music." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334912.

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2

Horsley, Joshua Robert. "Music as pure duration : a dialogue between music and philosophy." Thesis, University of Central Lancashire, 2018. http://clok.uclan.ac.uk/24003/.

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Music as Pure Duration: a dialogue between music and philosophy is a multi-method Practice Based Research project that contributes to dialogue between music and philosophy within the field of music. The thesis is comprised of a compositional portfolio and written component. It places hybrid of New Music and Electroacoustics in dialogue with Metaphysics. By interpreting Bergson’s temporality and Husserl’s consciousness of internal time through music, it questions how temporality is distinct in music compared to physical objects and sound. Chapter One defines the study. Chapter Two focuses on th

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3

Erickson, David Allen. "Language, ineffability and paradox in music philosophy /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2111.

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4

Vogelgesang, Anna Ruye. "An Investigation of Philosophy and Practice: Inclusion of World Musics in General Music Classes." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554376600823459.

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5

Johnson, Nicholas. "Musica Caelestia: Hermetic Philosophy, Astronomy, and Music at the Court of Rudolf II." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354712996.

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6

Williams, Benjamin John. "Music Composition Pedagogy: A History, Philosophy and Guide." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274787048.

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7

Sharma, B. R. "Adorno's 'Philosophy of Modern Music' : music in the age of mechanical reproduction." Thesis, University of Edinburgh, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.661791.

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Theodor Adorno's depiction of Stravinsky and Schoenberg in the <I>Philosophy of Modern Music </I>has been a source of much controversy. Many have criticised the Frankfurt Scholar for his biased portrayals. A common tendency shared among commentators has been to interpret Adorno's text literally. Yet upon closer examination, one sees that Adorno's intention was to write not only a literal text, but also a poetic text. Following in the tradition of Karl Kraus, and Walter Benjamin, Adorno's text is laden with symbols, metaphors, allusions and allegories that encircle socio-cultural and historical

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8

Sharma, Bhesham R. "The 'Philosophy of Modern Music' : music in the age of mechanical reproduction." Thesis, University of Edinburgh, 1997. http://hdl.handle.net/1842/21524.

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Theodor Adorno's depiction of Stravinsky and Schoenberg in the 'Philosophy of Modern Music' has been a source of much controversy. Many have criticised the Frankfurt Scholar for his biased portrayals. A common tendency shared among commentators has been to interpret Adorno's text literally. Yet upon closer examination, one sees that Adorno's intention was to write not only a literal text, but also a poetic text. Following in the tradition of Karl Kraus, and Walter Benjamin, Adorno's text is laden with symbols, metaphors, allusions and allegories that encircle socio-cultural and historical issu

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9

Bates, Vincent Cecil. "Moral Concepts in the Philosophy of Music Education." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1082%5F1%5Fm.pdf&type=application/pdf.

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10

Razumovskaya, Maria. "Heinrich Neuhaus : aesthetics and philosophy of an interpretation." Thesis, Royal College of Music, 2014. http://researchonline.rcm.ac.uk/355/.

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This thesis investigates one of the key figures of Russian pianism in the twentieth century, Heinrich Gustavovich Neuhaus (1888 - 1964). Although Neuhaus is known, particularly in the West, as an important pedagogue of the Moscow Conservatory rather than a performing artist in his own right, this thesis seeks to address the tension between Neuhaus's identities as a pedagogue and his overshadowed conception of himself as a performer - thus presenting a fuller understanding of his specific attitude to the task of musical interpretation. The reader is introduced to aspects of Neuhaus's biography

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11

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

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12

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

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13

Bacht, Nikolaus. "Music and time in Theodor W. Adorno." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/music-and-time-in-theodor-w-adorno(8275f334-adec-45dc-a49d-972e38b69fdf).html.

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14

Naqvi, Erum. "Comparative Ontology and Iranian Classical Music." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/341647.

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Philosophy<br>Ph.D.<br>My project explores why it is so difficult to reconcile questions about the nature and meaning of music in philosophy with the case of Iranian classical music. This tradition is highly performative, musicians rarely use scores, and, importantly, that anyone who calls herself a musician but cannot extemporize is not really considered much of a musician in Iran at all. Yet curiously, despite the emphasis on extemporization in this tradition, there is, nonetheless, a resounding sonic familiarity among performances considered as falling in the classical genre, so much so tha

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15

Richter, Goetz. "Silent harmony and hidden contemplation: Arguments for the congruence of philosophy and music." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/2062.

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This thesis aims to demonstrate the congruence between music and philosophy. The demonstration has three aspects: a discussion of philosophical and ontological aspects of music, a discussion of the importance of music in the philosophy of Plato and Aristotle and a discussion of philosophy itself. The starting point for the demonstration is a discussion of the philosophy of music in relation to the ontology of the musical work, the relationship of performance to notation and the musical work, the nature of improvisation and the temporality of music. I discuss the contextualisation of the musica

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16

De, la Riva Richard. "Architecture and music : on rhythm, harmony and order." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22393.

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This paper examines the relationship of architecture to music in terms of rhythm, harmony and order in both the Greek Antiquity and the early Middle Ages. These basic concepts are crucial because they emphasize 'fullness' of experience and demonstrate the extent to which our own regulating experience of the world has become empirical (or formal). The discussion thus places architectural theory within the movement of ideas between mythical thought and metaphysical construct; it places architectural practice within the movement between bodily experience and reasoning.

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17

Dowsett, Andrew Christopher. "Theology in discography : the Bible in popular music." Thesis, University of Sheffield, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301265.

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18

Stellings, Alan. "Music cognition as musical culture, a philosophical investigation of cognitivist theory of music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0005/NQ28131.pdf.

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19

Morsink, Coreen. "The composition of new music inspired by music philosophy and musical theoretical writings from ancient Greece." Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/9149/.

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This thesis consists of a portfolio of compositions linked to ancient Greece and a theoretical and historical explanation of the music of ancient Greece which led to the composing of each piece. Every composition explores an aspect of ancient Greek tuning systems or a tuning system that related to Ancient Greece. Compositions for solo violin, solo alto flute, solo quarter-tone alto flute and solo clarinet use monophony as well as harmonics from the overtone series and number series. A chamber work, string quartet and solo piano piece exploit heterophony. Harmony and polyphony based on quarter-

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20

Ferrandino, Matthew. "What to Listen for in Zappa: Philosophy, Allusion, and Structure in Frank Zappa's Music." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19249.

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In this thesis I explore how music-text relations in Frank Zappa’s music work together to express a central narrative, with a particular focus on his use of musical allusion. First, I frame Zappa’s creative perspective from a Dadaist philosophy, illuminating an underlying critique of American culture through the use of musical and lyrical devices such as allusion. I explore how Zappa uses allusion as a narrative device and how these allusions affect a listener’s interpretation of a track. Finally, I provide an in-depth analysis of “Billy the Mountain” from the 1972 album Just Another Band From

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21

Duris, Elizabeth Claire. "Contemporary Implications of Music and the Soul in Plato's Timaeus." University of Toledo / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1588634110162632.

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22

LOCKWOOD, KIMBERLY MOSHER. "METAPHOR, MUSIC AND MIND: UNDERSTANDING METAPHOR AND ITS COGNITIVE EFFECT." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116947187.

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23

Czarnecki, Jan Wawrzyniec. "Musica textualis. Word-made music in prose as a philosophical problem." Doctoral thesis, Università degli studi di Padova, 2017. http://hdl.handle.net/11577/3426320.

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Can music be made with words alone, artistically arranged? Can music be part of a novel or a short story? Can a novella realize a musical form, and does it mean it is a musical piece? Is being a piece of literature incompatible with being a piece of music as well? If so – in what way or ways? If not, for what reason? These simple questions are the conceptual starting point of the research developed in the present dissertation. It investigates the essential interrelation between music and artistic prose in cases of imitation of music within the latter. Musica textualis, its central concept, is

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24

Bagley, Paul Michael. "Mysticism in 20th and 21st century violin music." Thesis, University of Maryland, College Park, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643907.

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<p> “Mysticism,” according to the Oxford dictionary, can be defined as “belief in or devotion to the spiritual apprehension of truths inaccessible to the intellect.” More generally, it applies to the aspects of spirituality and religion that can only be directly experienced, rather than described or learned. This dissertation examines how mysticism fits into the aesthetic, compositional, and musical philosophies of four prominent composers of the 20<sup>th</sup> and 21<sup>st</sup> centuries—Ernest Bloch, Olivier Messiaen, Sophia Gubaidulina, and John Zorn, with a

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25

Hernandez, Brian. "Nihilism and the Formulation of a Philosophy of Art." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc67991/.

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Nihilism is often associated with feelings of despair, hopelessness and meaningless. It is certainly true that once the implications of this philosophy become apparent that these feelings are valid. However, this reaction is merely the first stage of dealing with nihilism and stopping here fails to examine the various types of nihilism that deal specifically with knowledge, ethics, metaphysics, truth, and art. Nihilism at its base is a philosophy that recognizes the history of human thought and what it means to be and to think. My focus is the way in which a completed nihilism is in fact an em

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26

Crilly, David R. "Philosophical considerations of music analysis : positivism in twentieth-century musicology." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339085.

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27

Campbell, Iain. "Experimental practices of music and philosophy in John Cage and Gilles Deleuze." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/35061/.

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In this thesis we construct a critical encounter between the composer John Cage and the philosopher Gilles Deleuze. This encounter circulates through a constellation of problems found across and between mid-twentieth century musical, artistic, and philosophical practices, the central focus for our line of enquiry being the concept of experimentation. We emphasize the production of a method of experimentation through a practice historically situated with regards to the traditions of the respective fields of music and philosophy. However, we argue that these experimental practices are not reduci

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28

Richter, Goetz. "Silent harmony and hidden contemplation arguments for the congruence of philosophy and music /." Connect to full text, 2006. http://hdl.handle.net/2123/2062.

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Thesis (Ph. D.)--University of Sydney, 2007.<br>Title from title screen (viewed 28 March 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Philosophy, Faculty of Arts. Degree awarded 2007; thesis submitted 2006. Includes bibliographical references. Also available in print form.

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29

Robertson, Casey. "Illuminating postmodern elements in the music of John Cage." Thesis, California State University, Dominguez Hills, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10020172.

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<p> While the American composer John Cage is often classified as an influential figure in the realm of modernist music, the controversial nature of Cage's work has proven to be more far-reaching than many had initially contended. Through a process of re-examining the work of Cage through a postmodern lens, this thesis rejects the notion that Cage was confined to the realm of modernism, and demonstrates that the composer not only exhibited postmodern tendencies through his ideas and concepts, but also aesthetically in his compositions. By illuminating these postmodern compositional practices an

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30

McBrayer, Benjamin M. "Mapping Mystery| Brelet, Jankelevitch, and Phenomenologies of Music in Post-World War II France." Thesis, University of Pittsburgh, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10692472.

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31

Peterson, John. "Intentional actions| A theory of musical agency." Thesis, The Florida State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3681760.

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<p> Studies of musical agency have been growing in the field of music theory since the publication of Edward T. Cone's book <i>The Composer's Voice </i> (1974). Indeed, recent publications by scholars such as Robert Hatten and Seth Monahan demonstrate that musical agency continues to be a topic worthy of investigation today. These authors tend to explore the function of agents within a piece, virtually ignoring the way agents arise in music. In this dissertation I work toward a solution to this problem by developing a theory of musical agency that explores the following questions: (1) How do v

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32

Grove, Paul Richard. "Sergei Ivanovich Taneev's "Doctrine of the Canon": A translation and commentary." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/283986.

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Sergei Ivanovich Taneev's Doctrine of the Canon (Moscow, 1929) is the complement of Convertible Counterpoint in the Strict Style (Moscow, 1909). Both works are unique in the history of music theory due to Taneev's application of algebra for the demonstration of general laws of vertical- and horizontal-shifting counterpoint in the strict style. Together they form the cornerstone of Russian, twentieth-century contrapuntal theory. This dissertation provides a translation of Doctrine of the Canon into English, and commentary. The commentary offers a comparison of Taneev's method with those of his

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33

Yadegari, Shahrokh. "The radif as a basis for a computer music model : union of philosophy and poetry through self-referentiality /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3120720.

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Thesis (Ph. D.)--University of California, San Diego, 2004.<br>Vita. Includes computer program for No flower, no incense, only sound: P. 192-239. Sound tape contains 2 compositions by the composer and an improvisation by Ivan Manzanilla with the composer: No flower, no incense, only sound; excerpt of A-window; Mirrors of the past. Includes bibliographical references (p. 241).

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34

Francis, Mark S., and Mark S. Francis. "REVELATION OR PHILOSOPHY: DEFINING SYMBOLISM IN THE MUSIC OF J. S. BACH." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/626513.

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35

Pantelidis, Christopher. "Understanding Reification in the Composition of New Concert Music." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-85346.

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This thesis explores the relationships that exist between reification, the conceptualisation of music, and the composition of new concert music. In general terms, reification can be described as the mental process of conceiving abstract concepts as tangible and concrete things. The problem of reification in the conceptualisation of musical works is one that exists between a rock and a hard place: we rely on something like reification in order to gain any sense of meaning from our experiences of the abstract aspects of musical works, but treating the reified understanding of these aspects as if

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36

Payling, David. "Visual music composition with electronic sound and video." Thesis, Staffordshire University, 2014. http://eprints.staffs.ac.uk/2047/.

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This research project investigated techniques for composing visual music and achieving balance in the relationship between sound and image. It comprises this thesis and a portfolio of compositions. The investigation began with an interest in the relationships between colour and sound and later expanded to include form and motion, the remaining factors of Thomas Wilfred’s lumia (1947). Working with a cohesive theme, such as lumia, proved to be an effective way of creating a coherent aesthetic in portfolio pieces. Other themes were therefore investigated including composing with visual and audio

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37

Stearns, Michelle L. "Unity, God and music : Arnold Schoenberg's philosophy of compositional unity in trinitarian perspective." Thesis, St Andrews, 2007. http://hdl.handle.net/10023/405.

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38

Brueck, Julia Christine. "A study of Peter Christian Lutkin's philosophy of church music and its manifestation in the hymn tune transcriptions for organ (1908)." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/471.

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39

Hands, Rachel M. "The Nature and Value of Accessibility in Western Art-Music, 1950-1970." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1236091441.

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40

Kleinig, John Wilfred. "The Lord's song : the basis, function and significance of choral music in Chronicles." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359843.

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41

Pocknee, David Antony. "How to compose a PhD thesis in music composition." Thesis, University of Huddersfield, 2017. http://eprints.hud.ac.uk/id/eprint/34371/.

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I start from the principle that composition is a historical lineage of techniques that have traditionally been applied to music but need not be. To illustrate this, I apply composition principles to the writing of this PhD thesis. In describing this process, I draw parallels between the music work I have composed during 2013-2017 and the process of thesis writing. Along the way, I show how quantization is not only central to my composition practice but fundamental to the act of composing; I rethink the basic epistemological principles of PhD research, using John Cage's ideology of chance and A

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42

Tornese, Sebastian Francisco Moro. "Philosophy of music in the neoplatonic tradition: Theories of music and harmony in Proclus, commentaries on Plato's Timaeus and Republic." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531301.

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My thesis examines philosophical questions about music according to Neoplatonism: what is music and what is the place of music in the structure of reality. I focus my examination of Neoplatonic music on the philosopher ProcIus. For ProcIus, music is something much richer than the phenomenon usually called music. My thesis studies this wide notion of music: music as art and as science, and furthermore music as a principle of order and harmony in the universe. Accordingly, music is intimately related to metaphysical principles: the WorldSoul and the Intellect. In Chapter I, I concentrate on the

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43

Mell, Margaret Ruth. "Body, Mind, Spirit: In Pursuit of an Integral Philosophy of Music Teaching and Learning." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/94537.

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Music Education<br>Ph.D.<br>This dissertation investigates extant literature on the contributions of spirituality within music education from perspectives of philosophical writers in the field. It introduces Integral Theory, which features a five element heuristic: a) four quadrants of human experience, specifically, subjective, objective, individual, and collective perspectives; b) levels (or stages) of human development; c) lines of human development; d) states of consciousness; and e) types or styles of being and acting in the world. Finally, this dissertation applies Integral Theory's mult

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BARRY, CHRISTOPHER M. "TILTING AT WINDMILLS: THE SUSPENSION OF DISBELIEF IN THREE TONE POEMS OF RICHARD STRAUSS." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1122672809.

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Cain, Melissa Anne. "Philosophy, Policy, Practice Visions and Realities of Cultural Diversity in Selected Primary Music Classrooms in Brisbane and Singapore." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/365990.

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Abstract :Music educators are busy people, dealing with a crowded curriculum, an assortment of teacher duties, and the pressure to create and present performances at different grade levels. Everyday obligations leave teachers little opportunity to reflect on their work and to critically assess the values which underlie their educational choices. Practical survival, suggests Broomhead, “is a more potent motivator than ensuring the philosophical soundness of daily classroom activities” (2004, p. 21). Over the past twenty-five years, school music programs across the globe have increasingly aimed

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Hertz, Samuel. "Noise, porous bodies, and the case for creative listening." Thesis, Mills College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=1589454.

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<p> Inharmonicity is a concept implicit in acoustic systems that explains the production of non-linear (non-integer) harmonics. While inharmonicity in and of itself is not always audible per se, its effects are no less than creating the basis for timbre and differential sound discrimination. In other words, inharmonic and non-linear signals are essential for human audition, yet they appear and disappear almost instantaneously. This paper attempts to elucidate the wide-reaching effects of inharmonicity and non-linear dynamic systems in a concrete sense by examining their relationships to the li

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Jordan, Ryan Clifford. "Known by the Company It Keeps: Associations and the Establishment of Musical Expression." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1258986587.

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48

Panzner, Joseph E. "The Process That Is The World: Cage/Deleuze/Events/Performances." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1332343323.

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49

Kangron, Ene. "Teaching music through active participation and involvement in music making." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34623.

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The development of Estonia’s national music culture has really taken place over the last 145 years, thanks to the national choral song festival tradition that began in 1869 and has continued until today. Song festivals have been always important as a form of non-political resistance confirming Estonian identity and self-confidence. Many have characterized Estonia as a “singing nation” and we know that a great contribution to this is provided by music teachers at schools.

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Linsley, Dennis E. "Metaphors and Models: Paths to Meaning in Music." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12113.

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xv, 198 p. : music<br>Music has meaning. But what is the nature and source of meaning, what tools can we use to illuminate meaning in musical analysis, and how can we relate aspects of musical structure to our embodied experience? This dissertation provides some possible answers to these questions by examining the role that metaphors and models play in creating musical meaning. By applying Mark Johnson and Steve Larson's conceptual metaphors for musical motion, Larson's theory of musical forces, perspectives on musical gesture, and a wide variety of models in music analysis, I show how meaning

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