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Relevant bibliographies by topics / Music; Literature; Philosophy

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Academic literature on the topic 'Music; Literature; Philosophy'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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Journal articles on the topic "Music; Literature; Philosophy"

1

Gill, Gillian C., and Shoshana Felman. "Writing and Madness: Literature/Philosophy/Psychoanalysis." Journal of Aesthetics and Art Criticism 45, no. 3 (1987): 314. http://dx.doi.org/10.2307/431466.

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Gracia, Jorge J. E. "Borges's "Pierre Menard": Philosophy or Literature?" Journal of Aesthetics and Art Criticism 59, no. 1 (February 2001): 45–57. http://dx.doi.org/10.1111/0021-8529.00006.

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Brooks, Jeanice. "Music as Erotic Magic in a Renaissance Romance*." Renaissance Quarterly 60, no. 4 (2007): 1207–56. http://dx.doi.org/10.1353/ren.2007.0367.

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AbstractThis study examines the musical writings of the occult philosopher Jacques Gohory, particularly his musical additions to his version of book 11 of the serial romance Amadis de Gaule. Although music and romance were often treated by contemporaries as, at best, trivial occupations for leisure hours, Gohory saw both as potential triggers for beneficial self-transformation: music and romance fully participate in the therapeutic and spiritual goals that motivate his more overtly philosophical and medical works. His use of romance as a vehicle for occult philosophy was an important means of disseminating concepts of music as natural magic beyond intellectual circles into the wider milieu of the French court, where occult understandings of music gained substantial currency by 1600.

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Goehr, L. "Antithetical Arts: On the Ancient Quarrel between Literature and Music." British Journal of Aesthetics 50, no. 3 (February 22, 2010): 313–17. http://dx.doi.org/10.1093/aesthj/ayq007.

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Sirridge, Mary, and Martha Nussbaum. "Love's Knowledge: Essays on Philosophy and Literature." Journal of Aesthetics and Art Criticism 50, no. 1 (1992): 61. http://dx.doi.org/10.2307/431070.

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Caws, Mary Ann. "Perspectives on Perception: Philosophy, Art, and Literature." Journal of Aesthetics and Art Criticism 48, no. 3 (1990): 266. http://dx.doi.org/10.2307/431783.

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GIBSON, JOHN. "The Philosophy of Literature by lamarque, peter." Journal of Aesthetics and Art Criticism 68, no. 1 (February 2010): 68–70. http://dx.doi.org/10.1111/j.1540-6245.2009.01392_4.x.

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FISCHER, MICHAEL. "Philosophy of Literature edited by schroeder, severin." Journal of Aesthetics and Art Criticism 69, no. 2 (May 2011): 247–48. http://dx.doi.org/10.1111/j.1540-6245.2011.01465_8.x.

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NANAY, BENCE. "Philosophy versus Literature? Against the Discontinuity Thesis." Journal of Aesthetics and Art Criticism 71, no. 4 (November 2013): 349–60. http://dx.doi.org/10.1111/jaac.12033.

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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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Dissertations / Theses on the topic "Music; Literature; Philosophy"

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Wertz, Charles Bradley. "Artistic expression in music and poetry." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3597.

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Deutsch, Ruy Arcadio Monteiro. "Villa-Lobos, três canções: um abraço poético." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-21092009-095112/.

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Analisamos três canções de Heitor Villa-Lobos da série Serestas: Pobre Céga..., Realejo e Abril; utilizando os parâmetros filosóficos de Deleuze e Guattari, literários de Antônio Cândido e musicais de Jean-Jacques Nattiez. Demonstramos influências da música ocidental, da brasileira e a criatividade do compositor operando-as. Os poemas são parâmetros para basear nossas análises.
Analyzing three songs by Heitor Villa-Lobos from Serestas: Pobre Céga..., Realejo and Abril; we apply philosophical meaning by Deleuze & Guattari, literary by Antonio Candido and musical by Jean-Jacques Nattiez. We demonstrate occidental musics influence, some Brazilian ones and how the compositor operates them. The poems are parametrical source to built our seeing.

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Clarke, Sabrina Rashelle. "On the Poetics of Nonlinear Time: Dallapiccola's Canti di Liberazione." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/384804.

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Music Composition
Ph.D.
The final piece of Dallapiccola’s “protest triptych” responding to Mussolinian fascism, Canti di Liberazione (1955) shows Dallapiccola’s abiding interest in author James Joyce’s work through its literary-inspired “simultaneity” and compositional strategies that suggest mixed temporalities (diverse temporal modes). This connection has significant implications on both the temporal and narrative forces at play within the work. Incorporating the work of philosophers such as Bergson and Adorno, I situate nonlinearity within the context of twentieth-century cultural life. Following Kern, I discuss the juxtaposition of distinct temporalities (simultaneity) in work such as Joyce’s Ulysses, which Dallapiccola adored, in addition to providing an overview of simultaneity in music. Next, I draw from Kramer and Reiner in examining the manifestations of linearity and nonlinearity in music. I explain how intertextuality has nonlinear implications and invites hermeneutic interpretation. Following Brown, I identify different types of symbolism and quotation in the work. Motivic elements such as the BACH cryptogram, musical references to Canti di Prigionia and Il Prigioniero, and structural symbolism such as palindromic gestures, are all crucial components of Liberazione’s unique temporal nexus. I explain how Dallapiccola’s intertextuality and compositional devices (such as retrograde, cross-partitioning, motivic recurrence, and rhythmic figuration) parallel Joyce’s techniques in Ulysses. Finally, I present a temporal analysis of Liberazione. Drawing from Kramer, I show how characteristics such as stepwise pitch relationships, homophony, and triadic gestures suggest linearity, while pedal points, “floating rhythm,” proportions, and polarity present nonlinearity. Moreover, I demonstrate how mixed temporalities (more than one temporal mode) operate within the work, and how linearity and nonlinearity exist at different structural levels. I explain how the recurring 01 dyad—a motivic minor second or major seventh—also manifests in the background stepwise descent of the work (F# to F), subverting the narrative transcendence of the conclusion. Ultimately, I categorize the work as an example of Kramer’s multiply-directed linear time, given its structural pitch connections and goal-directed teleology.
Temple University--Theses

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Workman, Jameson Samuel. "Chaucerian metapoetics and the philosophy of poetry." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:8cf424fd-124c-4cb0-9143-e436c5e3c2da.

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This thesis places Chaucer within the tradition of philosophical poetry that begins in Plato and extends through classical and medieval Latin culture. In this Platonic tradition, poetry is a self-reflexive epistemological practice that interrogates the conditions of art in general. As such, poetry as metapoetics takes itself as its own object of inquiry in order to reinforce and generate its own definitions without regard to extrinsic considerations. It attempts to create a poetic-knowledge proper instead of one that is dependant on other modes for meaning. The particular manner in which this is expressed is according to the idea of the loss of the Golden Age. In the Augustinian context of Chaucer’s poetry, language, in its literal and historical signifying functions is an effect of the noetic fall and a deformation of an earlier symbolism. The Chaucerian poems this thesis considers concern themselves with the solution to a historical literary lament for language’s fall, a solution that suggests that the instability in language can be overcome with reference to what has been lost in language. The chapters are organized to reflect the medieval Neoplatonic ascensus. The first chapter concerns the Pardoner’s Old Man and his relationship to the literary history of Tithonus in which the renewing of youth is ironically promoted in order to perpetually delay eternity and make the current world co-eternal to the coming world. In the Miller’s Tale, more aggressive narrative strategies deploy the machinery of atheism in order to make a god-less universe the sufficient grounds for the transformation of a fallen and contingent world into the only world whatsoever. The Manciple’s Tale’s opposite strategy leaves the world intact in its current state and instead makes divine beings human. Phoebus expatriates to earth and attempts to co-mingle it with heaven in order to unify art and history into a single monistic experience. Finally, the Nun’s Priest’s Tale acts as ars poetica for the entire Chaucerian Performance and undercuts the naturalistic strategies of the first three poems by a long experiment in the philosophical conflict between art and history. By imagining art and history as epistemologically antagonistic it attempts to subdue in a definitive manner poetic strategies that would imagine human history as the necessary knowledge-condition for poetic language.

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Thomas, Maureen E. "The Divine Communion of Soul and Song: A Musical Analysis of Dante's Commedia." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1450117394.

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Snyder, Lydia L. "Voicing Mother Nature: Ecomusicological Perspectives on Gender and Philosophy in Japanese Shakuhachi Practice." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556496056536201.

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Newman, Jay M. "Dear Goth." Youngstown State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1433505706.

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Costa, Cristiano Bedin da. "Matérias de escrita." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/15659.

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Trata-se de matérias e da escrita. E especialmente de matérias de escrita. Trata-se do texto. Do estilo. Da língua, do sentido, das formas e da linguagem. Trata-se do ritmo. Do ritmado. De conteúdos, substâncias e expressões. Trata-se de procedimentos. De sonoridades e de refrões. De sons organizados e ruídos. Trata-se do que trata a literatura. E também a música. A pintura. O cinema. A poesia. E também a filosofia. O cotidiano. A educação. Trata-se de fixar alguns eixos. De traçar alguns contornos. Delimitar alguns meios. De manter algumas posturas. Trata-se de construções e de fugas. De pontos e de linhas. De Deleuze e de Guattari. De Barthes, Beckett, Kafka, Rilke, Flaubert e Manoel de Barros. De Schulz, Hjelmslev, Klee, Blanchot e Céline. E também de Fante, Ponge, Cage, Miles Davis e Bukowski. Trata-se do que se encontra nas coisas. De ínfimos pedaços disso tudo e sobretudo do resto. Da ruína. Do silêncio. Dos abismos e da desconstrução. Trata-se do inominável. Dos limites. De alguns tensores e de conexões e suspensões. Trata-se da despalavra e da palavra ágrafa. Do instante-nada das coisas todas quando distantes da usura da vida. Trata-se do indiferenciado e de sua maleabilidade. Do impossível e de alguma outra possibilidade. Do cansaço e da desistência. Do uso e de seu inverso. Do esgotamento e da criação.
It refers to matters and writing. And especially writing matters. It refers to the text. The style. The language, sense, shapes. It refers to rhythm. The rhythmic. To content, substance and expressions. It refers to procedures. To sonorities and choruses. To organized sounds and noises. It refers to which literature relates to. And also music. Painting. Cinema. Poetry. And also philosophy. Daily life. Education. It refers to fixing some axles. Tracing some outlines. Delimiting some means. Maintaining some postures. It refers to constructions and escapes. Dots and lines. To Deleuze and Guattari. To Barthes, Beckett, Kafka, Rilke, Flaubert and Manoel de Barros. To Schulz, Hjelmslev, Klee, Blanchot and Céline. And also to Fante, Ponge, Cage, Miles Davis and Bukowski. It refers to what is found in things. To insignificant pieces of it all and above the rest. Ruin. Silence. Abysms and deconstruction. It refers to the untamable. To limits. To some tensors and connections and suspensions. It refers to wordless and nonliterate word. To the nothing instant of all things, distant from the usury of life. It refers to the undifferentiated and to its malleability. The impossible and some other possibility. Tiredness and desistance. Use and its inverse. Depletion and creation.

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Stypinski, Megan Michele. "“'Reinventing the Gods': Bloomian Misprision in the Nietzschean Influence of Jim Morrison.”." Ohio Dominican University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=odu1301258607.

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Icleanu, Constantin C. "A CASE FOR EMPATHY: IMMIGRATION IN SPANISH CONTEMPORARY MEDIA, MUSIC, FILM, AND NOVELS." UKnowledge, 2017. http://uknowledge.uky.edu/hisp_etds/33.

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This dissertation analyzes the representations of immigrants from North Africa, Latin America, and Eastern Europe in Spain. As engaged scholarship, it seeks to better the portrayal of immigrants in the mass media through the study of literature, film, and music about immigration spanning from the year 2000 to 2016. Because misconceptions continue to propagate in the media, this dissertation works to counteract anti-immigrant, xenophobic representations as well as balance out overly positive and orientalized portrayal of immigrants with a call to recognize immigrants as human beings who deserve the same respect, dignity, and rights as any other citizen. Chapter 1 examines and analyzes the background to immigration in Spain by covering demographics, the mass media, and political theories related to immigration. Chapter 2 analyzes Spanish music about immigration through Richard Rorty’s social theory of ‘sentimental education’ as a meaningful way to redescribe marginalized minorities as full persons worthy of rights and dignity. Chapter 3 investigates the representation of immigrants in Spanish filmic shorts and cinema. Lastly, Chapter 4 demonstrates how literary portrayals of immigrants written by undocumented immigrants can give rise to strong characters that avoid victimization and rear empathy in their readers in order to affect a social change that minimizes cruelty.

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Books on the topic "Music; Literature; Philosophy"

1

Self-reference in literature and other media. Amsterdam: Rodopi, 2010.

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1932-, McKinnon James W., ed. Music in early Christian literature. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.

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Music writing literature, from Sand via Debussy to Derrida. Burlington, VT: Ashgate, 2006.

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Pleasure and the arts: Enjoying literature, painting, and music. Oxford: Oxford University Press, 2004.

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Butani, D. H. The melody and philosophy of Shah Latif. New Delhi: Promilla, 1991.

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Said, Edward W. On late style: Music and literature against the grain. New York: Pantheon Books, 2006.

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Said, Edward W. On late style: Music and literature against the grain. New York: Pantheon Books, 2006.

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Jaeger, C. Stephen. Magnificence and the sublime in Medieval aesthetics: Art, architecture, literature, music. New York: Palgrave Macmillan, 2010.

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Magnificence and the sublime in Medieval aesthetics: Art, architecture, literature, music. New York: Palgrave Macmillan, 2010.

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Age d'or, décadence, régénération: Un modèle fondateur pour l'imaginaire musical européen. Paris: Classiques Garnier, 2013.

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Book chapters on the topic "Music; Literature; Philosophy"

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Ray, Sitansu. "The Phenomenology of Music: A Vital Source of Tagore’s Creativity." In The Visible and the Invisible in the Interplay between Philosophy, Literature and Reality, 311–18. Dordrecht: Springer Netherlands, 2002. http://dx.doi.org/10.1007/978-94-010-0485-5_20.

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Classen, Albrecht. "Magic in the Middle Ages and the Early Modern Age – Literature, Science, Religion, Philosophy, Music, and Art. An Introduction." In Magic and Magicians in the Middle Ages and the Early Modern Time, edited by Albrecht Classen, 1–108. Berlin, Boston: De Gruyter, 2017. http://dx.doi.org/10.1515/9783110557725-001.

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Shevock, Daniel J. "Philosophy on Soil." In Eco-Literate Music Pedagogy, 22–36. New York : Routledge, 2017. | Series: Routledge New Directions in Music Education Series: Routledge, 2017. http://dx.doi.org/10.4324/9781315211596-2.

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Fraser, Robert. "Of Sirens, Science and Oyster Shells: Hypatia the Philosopher from Gibbon to Black Athena." In Literature, Music and Cosmopolitanism, 51–64. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-68480-2_4.

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Podak, Klaus. "Adorno, Theodor W.: Philosophie der Neuen Musik." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_9427-1.

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Vogt, Jochen. "Mann, Thomas: Essays zu Literatur, Musik und Philosophie." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_12453-1.

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Etzkorn, K. Peter. "Kurt Blaukopf (ed.), Philosophie, Literatur und Musik im Orchester der Wissenschaften: Wissenschaftliche Weltanschauung und Kunst, (Schriftenreihe Wissenschaftliche Weltauffassung und Kunst, vol.2), Wien, Hölder-Pichler-Tempsky, 1996." In Game Theory, Experience, Rationality, 439–42. Dordrecht: Springer Netherlands, 1998. http://dx.doi.org/10.1007/978-94-017-1654-3_45.

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"Music and Silence." In Silence in Philosophy, Literature, and Art, 27–34. Brill | Rodopi, 2017. http://dx.doi.org/10.1163/9789004352582_005.

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Tadday, Ulrich. "Life and literature, poetry and philosophy: Robert Schumann's aesthetics of music." In The Cambridge Companion to Schumann, 38–47. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521783415.003.

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Hickmott, Sarah. "Music, Mousike, Muses (and Sirens)." In Music, Philosophy and Gender in Nancy, Lacoue-Labarthe, Badiou, 15–49. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458313.003.0002.

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The first chapter opens with a famous excerpt from Sartre’s La Nausée where the musical ‘object’ is positioned as resolutely independent of the material props upon which the reproduction of its sounding depends (the gramophone/record), whilst also mapping specific identities (the Jew and the Negress) and their attendant sufferings onto nothing more than its sounding. Thus Sartre, via Roquentin, highlights the way music seems to be both material and immaterial, mediated and autonomous, real and ideal, and deeply and viscerally human but also beguilingly transcendental. It develops this issues that arise from this well-known passage to sketch out some of the key issues in any thinking about music, introducing crucial tropes and associations as well as drawing on the musicological literature that has sought to deconstruct in critical and political ways what it is we mean (or often do not mean) when we think or speak about ‘music.’ Key considerations include music’s essence, definition and location, as well as its emotional and psychological impact (its effect and affective capacity more broadly), its similarities and differences with language, and the roles of composers, performers, listeners and, of course, technology, alongside music’s relationship to identity, society, culture and politics.

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