Journal articles: '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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Mosley, David L. "Auflosung in Nineteenth-Century Literature and Music." Journal of Aesthetics and Art Criticism 51, no. 3 (1993): 437. http://dx.doi.org/10.2307/431515.

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MOSLEY, DAVID L. "Auflosung in Nineteenth-Century Literature and Music." Journal of Aesthetics and Art Criticism 51, no. 3 (June 1, 1993): 437–44. http://dx.doi.org/10.1111/1540_6245.jaac51.3.0437.

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Chodos, Asher Tobin. "Review: Improvising Improvisation: From Out of Philosophy, Music, Dance, and Literature by Gary Peters." Journal of Popular Music Studies 32, no. 1 (March 1, 2020): 126–29. http://dx.doi.org/10.1525/jpms.2020.32.1.126.

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Galgut, Elisa. "Antithetical Arts: on the Ancient Quarrel Between Literature and Music - Peter Kivy." Philosophical Quarterly 61, no. 243 (March 24, 2011): 442–44. http://dx.doi.org/10.1111/j.1467-9213.2011.695_14.x.

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Boelderl, Artur R. "An Interview with Jean-Luc Nancy on Literature, Philosophy and the Present." Theory, Culture & Society 37, no. 7-8 (November 11, 2020): 355–66. http://dx.doi.org/10.1177/0263276420962200.

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‘We are before Dante’: In this interview, held via email in March 2020 amid the massive outbreak of the COVID-19 pandemic, Jean-Luc Nancy leads us on a brief but far-reaching foray through his thought. He succeeds in providing an overview of the subjects that he has raised since the beginning of his career as a philosopher, while maintaining a focus on their pertinence for what we are currently facing in the world today. He supplements his insight that ‘we are before Dante’ with the equally remarkable conclusion: ‘Desire is what is born par excellence’. In between these two propositions, and in between the lines and words documented here – touching upon topics as diverse as the moai statues of Easter Island, the music of Schumann, Wagner, and techno, as well as the writing of Artaud, Proust, and Verlaine – we find an exciting, up-to-date treatment of the question of how to ‘deal with the world intellectually’ (Musil) without, in doing so, participating in the modern claim to ‘master’ it. Instead, Nancy suggests, we ought to be attentive to what escapes us by its very principle, with philosophy, literature, and art serving as witnesses of what has always been absent from our mind, that is, the sensibility of meaning, in order to become aware that, since we are always already before and after birth, ‘we come from nowhere and everywhere’. This realization enables us to understand the political consequences that it has for our understanding of a world in metamorphosis, including for highly controversial issues such as colonialism, anti-Semitism, the far right, neo-liberalism, and other totalitarian forms that supposedly manifest a return of the myth, as well as its consequences for the insurmountability of Marx(ism).

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Rind, Miles K., and Richard Eldridge. "On Moral Personhood: Philosophy, Literature, Criticism, and Self-Knowledge." Journal of Aesthetics and Art Criticism 49, no. 2 (1991): 169. http://dx.doi.org/10.2307/431707.

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BRUDNEY, DANIEL. "Lord Jim and Moral Judgment: Literature and Moral Philosophy." Journal of Aesthetics and Art Criticism 56, no. 3 (June 1, 1998): 265–82. http://dx.doi.org/10.1111/1540_6245.jaac56.3.0265.

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KUBALA, ROBBIE. "Philosophy, Literature, and Emotional Engagement: A Response to Nanay." Journal of Aesthetics and Art Criticism 73, no. 2 (April 2015): 196–200. http://dx.doi.org/10.1111/jaac.12144.

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19

Higgins, K. M. "Review: Deeper than Reason: Emotion and Its Role in Literature, Music, and Art." Mind 116, no. 461 (January 1, 2007): 209–12. http://dx.doi.org/10.1093/mind/fzm209.

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Bicknell, J. "Antithetical Arts: On the Ancient Quarrel Between Literature and Music, by Peter Kivy." Mind 119, no. 474 (April 1, 2010): 497–500. http://dx.doi.org/10.1093/mind/fzq024.

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21

Kompridis, Nikolas. "Amidst the plurality of voices philosophy of music after adorno." Angelaki 8, no. 3 (December 2003): 167–80. http://dx.doi.org/10.1080/0969725032000154458.

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Miklaszewska, Joanna. "Literature and visual arts as a source of inspiration." Musicology Today 16, no. 1 (December 31, 2019): 113–21. http://dx.doi.org/10.2478/muso-2019-0006.

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Abstract This article is a contribution to scientific research on this aspect of Krystyna Moszumańska-Nazar’s musical output which concerns the connections between her music and other arts, primarily literature and the visual arts, as well as inspirations flowing from nature, religion, philosophy, and broadly understood culture. The article applies structuralist methodology. The starting point for the analysis of the phenomena in question is the musical work itself, its title and its structure, and in the case of vocal-instrumental works - the content and message of the literary text and the person of its author. In the part of the article which deals with the biography and artistic personality of Krystyna Moszumańska-Nazar, as well as by quoting the composer’s own statements in the text, I draw on the personalistic method, especially highly valued in 20th-century philosophy; this method emphasises the role of the human person and personality in analytic work. In the musicological literature to date there exists no separate, large-scale study dedicated to the subject of non-musical inspirations in the works of Krystyna Moszumańska-Nazar. This topic has been tackled, however, in scientific dissertations dealing with various aspects of the composer’s work. For example, inspirations from the sphere of the sacrum have been indicated by Marek Stefański (2011), whereas Ewa Mizerska-Golonek (1992) writes about inspirations derived from the Biblical text in Krystyna Moszumańska-Nazar’s Song of Songs, and Hanna Kostrzewska (2012) discusses painting as a source of inspiration in the composer’s oeuvre. The main source of information on this subject, however, are the composer’s own statements: her ‘Autorefleksja kompozytorska’ [‘The Composer’s Self-Commentary’]K. Moszumańska-Nazar, ‘Autorefleksja kompozytorska’ [‘The Composer’s Self-Commentary’], in K. Kasperek, Krystyna Moszumańska-Nazar. Katalog tematyczny utworów, Cracow, Academy of Music, 2004, pp. 149–153. and interviews.M. Woźna-Stankiewicz, Lwowskie geny osobowości twórczej. Rozmowy z Krystyną Moszumańską-Nazar [The Lviv Gene of Artistic Personality: Interviews with Krystyna Moszumańska-Nazar], Cracow, Musica Iagellonica, 2007; M. Janicka-Słysz, ‘Z walcem w tle’ [‘With Waltz in the Background’], interview with Krystyna Moszumańska-Nazar, Ruch Muzyczny, no. 18, 2004, pp. 8–9.

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23

Brown, Lee B. "Jazz: America's Classical Music?" Philosophy and Literature 26, no. 1 (2002): 157–72. http://dx.doi.org/10.1353/phl.2002.0002.

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Gadamer, Hans-Georg, and Robert H. Paslick. "Literature and Philosophy in Dialogue: Essays in German Literary Theory." Journal of Aesthetics and Art Criticism 53, no. 4 (1995): 446. http://dx.doi.org/10.2307/430990.

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Reeves, Charles Eric, and Mark Edmundson. "Literature against Philosophy, Plato to Derrida: A Defence of Poetry." Journal of Aesthetics and Art Criticism 55, no. 1 (1997): 68. http://dx.doi.org/10.2307/431612.

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26

Dawson, William J. "Abstracts from the Literature, No. 56." Medical Problems of Performing Artists 27, no. 3 (September 1, 2012): 169–71. http://dx.doi.org/10.21091/mppa.2012.3030.

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In concluding the 14th year of the Abstracts review, this issue’s column will be devoted exclusively to the topic of music and speech/language neurobiology—-papers discussing their similarities and differences, the effects each one has on the other, and how musical training affects language in persons of all ages. Installment 56.

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Dawson, William J. "Abstracts from the Literature, No. 60." Medical Problems of Performing Artists 28, no. 3 (September 1, 2013): 169–71. http://dx.doi.org/10.21091/mppa.2013.3032.

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Once again, this column includes topics addressed by more than one recent article. Music aptitude and first-person accounts of vocalists’ health problems lead off the review. Knowing how performers feel and react to their own difficulties adds an important dimension to our understanding and dealing with the problems they (and we) face. Installment 60.

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Dawson, William J. "Abstracts from the Literature, No. 54." Medical Problems of Performing Artists 27, no. 1 (March 1, 2012): 50–51. http://dx.doi.org/10.21091/mppa.2012.1010.

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The first five reviewed articles contain some interesting contrasts and comparisons of the effects of music and dance training and participation on both young and mature performing populations. The salutary effects of such training on maintaining cognitive skills while aging is especially important to any senior performer, an impetus to “keep on keepin’ on.” Installment 54.

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Dawson, William J. "Abstracts from the Literature, No. 69." Medical Problems of Performing Artists 30, no. 4 (December 1, 2015): 260–62. http://dx.doi.org/10.21091/mppa.2015.4046.

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Once again, recent journals have published multiple articles on a single topic. This column reviews four articles dealing with various effects of music training. It is interesting that, since Dawson’s article on this topic appeared in MPPA 18 months ago, literally dozens of new research-based articles have appeared, greatly expanding current knowledge of this complex and fascinating subject.

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Rudi, Jøran. "Unpacking the Musical and Technical Innovation of Knut Wiggen." Organised Sound 23, no. 2 (July 31, 2018): 195–207. http://dx.doi.org/10.1017/s1355771818000079.

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Knut Wiggen (1927–2016) is not a household name in music technology, despite the fact that he developed cutting-edge technology during the 1960s and early 1970s in Stockholm, as leader of both the concert organisation Fylkingen and the Electronic Music Studio (EMS). In the international literature on computer music, this development has only been mentioned in passing, if at all. However, EMS and the general development has been discussed in Scandinavian texts,1 but the links between Knut Wiggen’s technical achievements and his far-reaching ambitions for the music of the future, and how this vision aligned with philosophy and research at the time, have not been the focus. Hartenstein (2011) provides insights into Wiggen’s personal intentions and philosophy, and does not go much into technical detail, Groth (2010) focuses principally on the politics and aesthetic differences and subsequent conflicts at EMS, and although an overview of the EMS technology is provided, it is not always made clear how innovative it was. In Broman (2007), the broader lines of electroacoustic musical development are in focus.Wiggen combined social and political concerns with technical insight, and his overarching conviction of how a new art was necessary as a counterweight to mute consumerism is unique in computer music. The aim of this article is to describe and explain the coherency of Wiggen’s achievements, his philosophy, his use of current technological advances and research and his development of a new method for composing the music of the future. In order to support this focus, mainly primary sources have been used,2 however, the literature mentioned above has been consulted due to its use of interview data and other personal communication not commonly available. A degree of duplication of information has been required for the narrative not to suffer.The article will show that Wiggen was a visionary pioneer who has a natural place among such computer music luminaries as Max Mathews, Jean-Claude Risset, John Chowning, Iannis Xenakis, Peter Zinovieff and others from the same generation.

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Riley, Charles A. "Color Codes: Modern Theories of Color in Philosophy, Painting and Architecture, Literature, Music, and Psychology." Journal of Aesthetics and Art Criticism 54, no. 1 (1996): 95. http://dx.doi.org/10.2307/431694.

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Shehan, Patricia K. "Towards Tolerance and Taste: Preferences for World Musics." British Journal of Music Education 3, no. 2 (July 1986): 153–63. http://dx.doi.org/10.1017/s0265051700005295.

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A multicultural imperative has emerged in American educational philosophy and practices of the last decade. Never before has there been such an emphasis on multicultural understanding in the school curriculum. The changing philosophy of education as expressed in the literature suggests that the melting-pot theory is outdated; instead, the various ethnic groups present a rich tapestry of American national culture while maintaining their distinct identity. In this article Dr Shehan examines the relationship between these developing educational attitudes and the music teacher's task in helping to expand students' musical understanding and taste.

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CODE, DAVID J. "Real Feelings: Music as Path to Philosophy in2001: A Space Odyssey." Twentieth-Century Music 7, no. 2 (September 2010): 195–217. http://dx.doi.org/10.1017/s1478572211000168.

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AbstractA recurring trope in the literature on Kubrick's2001: A Space Odysseyholds that the HAL 9000 computer has more feelings than any of the human characters. But the film itself presents the question of HAL's ‘real feelings’ as something no one can truthfully answer. One way to begin negotiating this contradiction is by attending anew to the way the Jupiter Mission episode, in which HAL appears, is cut to the Adagio from Khachaturian's balletGayane, the excerpt that remains the least discussed in this renowned compilation score. Suggesting that the elusive affect of this music, as it is deployed through several interrelated scenes, brings focus to questions of emotion and embodiment that fundamentally inform the conflict between human and machine, I go on to offer a new hearing of HAL's unforgettable death song ‘Daisy Bell’ in this light, and to re-evaluate some of the director's own words about his film. Ultimately, I carry the same questions forward to inform a contribution to the ongoing debate about the Nietzschean philosophical inflections occasionally thought to enter the film with its much more famous cue from Richard Strauss'sAlso sprach Zarathustra.

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Bryan, Jenny. "Philosophy." Greece and Rome 65, no. 2 (September 17, 2018): 269–77. http://dx.doi.org/10.1017/s0017383518000220.

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Three recent volumes indicate a growing appreciation of the significance and complexity of Plato's account of mousikē in the Laws. Anastasia-Erasmia Peponi's edited work, Performance and Culture in Plato's Laws, collects fifteen diverse chapters by prominent scholars in Greek literature, philosophy, and culture to produce an immensely rewarding and original range of perspectives on Plato's treatment of performance and poetics in the Laws. As Peponi notes in her brief introduction, the complexity of the cultural background that Plato manipulates and appropriates in the Laws, as well as the intricacy of the Platonic appropriation itself, combine to present a very real challenge to any scholar seeking to understand them. In addition, it is hard to see that any robust treatment of the Laws’ political theory can avoid getting to grips with the fundamental connections between politics and performance established within the dialogue. Any reader with an interest in either Plato's political philosophy or his poetics will be well rewarded by time spent with this volume. The chapters are divided into four sections, which focus in turn on issues of cultural identity (‘Geopolitics of Performance’), the role of the choruses in Magnesia (‘Conceptualising Chorality’), the Laws’ treatment of genre (‘Redefining Genre’), and the later reception of the Laws’ poetics (‘Poetry and Music in the Afterlife of the Laws’). In the second of the volume's two chapters on cultural identity, Ian Rutherford considers the Laws’ representation of Egypt as a culture that successfully resists political and moral decline via a commitment to stability in mousikē. Setting Plato's account against the external evidence, Rutherford suggests that the Laws offers a partial fiction of stable Egyptian mousikē, useful not least for the implications of its possible critical connection to Dorian culture. In the last of five chapters on the Laws’ interest in the civic apparatus of choral performance, Peponi demonstrates the singularity of choral performance in the work. Whereas the Laws treats most types of performance as producing pleasure in the spectator, in the case of choruses, the emphasis is on the pleasure and experience of the performers. Peponi argues that this shift in focus represents a Platonic attempt to ‘de-aestheticize’ the chorus. In this way, Plato seeks to rehabilitate mousikē by divesting it of the psychological and aesthetic flaws identified in the Republic’s extended critique. However, as Peponi notes in conclusion, the Laws is not altogether comfortable with this sort of performative pleasure. In the first of five chapters on genre, Andrea Nightingale discusses the Laws’ manipulation of generic diversity in service of the unified truth represented by the law code at its heart. Nightingale presents a fascinating and original analysis of the law code as a written text rather different in character from that criticized in the Phaedrus as a pharmakon that destroys our memory of truth. Rather, it serves to encourage the internalization of truths by obliterating the citizens’ memories of previous unwanted cultural norms. In the volume's final chapter, Andrew Barker turns to Aristoxenus for help in making sense of Plato's suggestion that music can be assessed as ‘correct’ or ‘incorrect’, or as ‘good’ or ‘bad’. Contrasting the Platonic focus on mimesis and ethical correctness with Aristoxenus’ assessment of music ‘by the standard of its own intrinsic values’ (413), Barker suggests that, of the two treatments, Plato's is the furthest removed from general Greek opinion. These varied and illuminating chapters are representative of the scope and quality of the volume, which not only serves to open up new directions for research on the Laws but also makes plain that the Laws is at least as important as the Republic for a thorough understanding of Plato's views on art and culture, and their relation to politics.

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RIND, MILES K. "Eldridge, Richard. on Moral Personhood: Philosophy, Literature, Criticism, and Self-Knowledge." Journal of Aesthetics and Art Criticism 49, no. 2 (March 1, 1991): 169. http://dx.doi.org/10.1111/1540_6245.jaac49.2.0169.

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Borthwick, E. Kerr. "‘The Wise Man and the Bow’ in Aristides Quintilianus." Classical Quarterly 41, no. 1 (May 1991): 275–78. http://dx.doi.org/10.1017/s0009838800003876.

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In the second book of the De Musica, Aristides Quintilianus discourses at length on the educational value of music, drawing on many earlier sources, Pythagorean, Damonian, and of course Plato and Aristotle. In ch. 6 (p. 60 W.-I.) Plato's censorious views in the Republic are particularly referred to, but, like Aristotle in the eighth book of his Politics, Aristides takes a less severe attitude towards the pleasure-giving content of melody on appropriate occasions, and points to the natural human taste for such music: τ⋯ς δ ϕὺσεως κα τ τοιατα παιτοσης, μποδίζειν μν δνατον (εὖ γρ εἴρηται τῷ σοϕῷ κα τò περ το τòξου), τν δ νσεων τν ὠϕλιμον προκριτον.

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Trachtenberg, Marvin. "Architecture and Music Reunited: A New Reading of Dufay's Nuper Rosarum Flores and the Cathedral of Florence." Renaissance Quarterly 54, no. 3 (2001): 741–75. http://dx.doi.org/10.2307/1261923.

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The proportions of the voices are harmonies for the ears; those of the measurements are harmonies for the eyes. Such harmonies usually please very much, without anyone knowing why, excepting the student of the causality of things.—Palladio(1567)The chiasmatic themes of architecture as frozen music and music as singing the architecture of the world run as leitmotifs through the histories of philosophy, music, and architecture. Rarely, however, can historical intersections of these practices he identified. This study proposes a transient nexus of architecture, sacred music, and theology in early modern Florence.

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Phelan, Helen. "“Let Us Say Yes…” Music, the Stranger and Hospitality." Public Voices 9, no. 1 (January 5, 2017): 113. http://dx.doi.org/10.22140/pv.206.

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The stranger, or the foreigner, is a familiar figure in Western literature, philosophy, and theology. The turn of the millennium from the 20th to the 21st century has re-cast the concept of the stranger against a backdrop of global migration, unprecedented in its scope and character. Philosophy, psychoanalysis and literary criticism have all re-engaged in what is increasingly acknowledged as one of the seminal challenges to contemporary political, social and ethical human organization. One of the concepts rehabilitated in this most recent engagement is the concept of hospitality, including absolute hospitality.Through an exploration of some key contemporary approaches to our understanding of the human phenomenon of music-making, as well as a case study of a particular musical happening in Limerick, Ireland, involving a group of women from the Travelling and asylum seeking communities, this paper attempts the postulation that music is a potential medium through which absolute hospitality can be glimpsed and, on occasion, realized.

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Hansen, James T. "The Relevance of Postmodernism to Counselors and Counseling Practice." Journal of Mental Health Counseling 37, no. 4 (October 1, 2015): 355–63. http://dx.doi.org/10.17744/mehc.37.4.06.

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Postmodernism is a broad intellectual movement that has been changing the way people approach art, music, literature, politics, and philosophy since the late 20th century. This article addresses the impact of postmodern thinking on the practice of counseling and its relevance to counselors' approach to understanding clients and their world.

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Donelan, James H. "Holderlin's Music of Poetic Self-Consciousness." Philosophy and Literature 26, no. 1 (2002): 125–42. http://dx.doi.org/10.1353/phl.2002.0007.

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Pokharel, Ramesh. "Developing Trends of Music in the Vedic and Mythological Eras." SIRJANĀ – A Journal on Arts and Art Education 7, no. 1 (September 21, 2021): 60–65. http://dx.doi.org/10.3126/sirjana.v7i1.39352.

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The Vedas are religious texts which inform the religion of Hinduism also known as Sanatan Dharma; meaning eternal order or eternal Path. The Vedic – mythological period is considered to be the golden era in the history of world literature. Not only did the philosophy of the age reach a new pinnacle; but even aspects of music, art, culture, literature, sculpture, religion, and spiritualism were extended to their highest point. Amongst these cultural instruments, Music represents vocal and instrumental sounds combined in such a way as to produce beauty of form, harmony and expression of emotions. During this era music – vocal and instrumental were held in high respect in society. Music had both ritual and secular aspects. Sāmaveda is considered as the root of Vedic music as well as the root of today's south Asian classical music. Sāmagāna was considered as the sound of inspiration for the people of that age. This paper attempts to discuss the musical situations in Vedic and Mythological periods regarding its origin, development, extension and practices in ancient south-eastern i.e. Hindu civilization. The paper also points out why the need and importance of Vedic music in present day society is much more; especially in regards to the adoption of lessons and ethics from Sanatan Hinduism.

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REEVE, CHARLES ERIC. "Mark Edmundson, Literature Against Philosophy, Plato To Derrida: A Defence of Poetry." Journal of Aesthetics and Art Criticism 55, no. 1 (December 1, 1997): 68–69. http://dx.doi.org/10.1111/1540_6245.jaac55.1.0068.

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Wilson, Peter. "THE POLITICS OF MUSIC." Classical Review 52, no. 1 (March 2002): 105–7. http://dx.doi.org/10.1093/cr/52.1.105.

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Di Scipio, Agostino. "Questions concerning music technology." Angelaki 3, no. 2 (August 1998): 31–40. http://dx.doi.org/10.1080/09697259808571982.

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45

Brandolini (book author), Raffaele, Ann E. Moyer (book translator and introducer), Marc Laureys (assistant book translator and introducer), and Edward S. Moore (review author). "On Music and Poetry (De musica et poetica, 1513)." Renaissance and Reformation 37, no. 3 (January 1, 2001): 78–79. http://dx.doi.org/10.33137/rr.v37i3.8722.

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Fogel, Curtis. "Jenefer Robinson, Deeper than Reason: Emotion and its Role in Literature, Music, and Art." Minds and Machines 18, no. 2 (May 7, 2008): 289–92. http://dx.doi.org/10.1007/s11023-008-9099-1.

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Green, Edward. "Interview with Composer Marcus Paus Conducted for ICONI by Edward Green." ICONI, no. 3 (2020): 56–67. http://dx.doi.org/10.33779/2658-4824.2020.3.056-067.

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We learn in this interview with the leading Norwegian composer of his generation, Marcus Paus (b. 1979), how critical he is of the “academic tradition” which, in his view, has hurt a good deal of contemporary music over the last several decades: a certain snobbish adherence to non-tonal, non-melodic “abstract modernism.” Paus, on the contrary, asserts the living freshness of traditional values. His own music is grounded in tradition, is steeped in the value of careful craftsmanship, and yet, at the same time, is passionate, surprising, original, deeply lyrical, and fervently humanist in its social and political orientation. We learn, too, of his great esteem for the American composer John Williams, best known for his cinematic scores. Paus sees Williams as a model of nobility: both musically, and as a human being. In this interview there is also substantial discussion of the value of the philosophy of Aesthetic Realism, founded by the great American philosopher Eli Siegel, and his profound ideas concerning Art and Life. During this wide-ranging conversation, Paus speaks likewise of world music, pop music, and his abiding interest in literature and painting. There is also an extended passage where he keenly and generously comments on the composers of his own generation, and points to several of their most outstanding works.

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Rauschelbach, Uwe. "Neuerscheinungen zu Nietzsches Ästhetik." Nietzsche-Studien 49, no. 1 (October 27, 2020): 346–52. http://dx.doi.org/10.1515/nietzstu-2020-0024.

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AbstractContent and formal structures are inextricably linked in Nietzsche’s texts. Formal qualities convey meaning, for example, by indicating whether an expressed thought should be understood as an assertion, or rather subverted and ultimately negated. The following recent publications explore intermediality and performativity in Nietzsche’s language from different perspectives. Federico Celestini and Rüdiger Görner each examine the musicality of Nietzsche’s language against the grain of the common assumption of the language-like character of music. However, the two authors arrive at different conclusions about the correspondence between language and music in Nietzsche’s work. A volume edited by Christian Benne and Dieter Burdorf draws connections between Nietzsche and the philologist Rudolf Borchardt in terms of their concept of language. While Nietzsche and Borchardt exhibit parallels with regard to language skepticism and the self-creative process of writing, they fundamentally disagree in their conception of art. Finally, Diemo Landgraf sees Nietzsche’s work as the culmination of nineteenth-century decadent literature, grounding his critique of Nietzsche’s unique approach, which arises out of a music philosophical perspective, by labelling it as nihilistic.

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Arditi, Neil. "Skeptical Music: Essays on Modern Poetry (review)." Philosophy and Literature 25, no. 2 (2001): 368–70. http://dx.doi.org/10.1353/phl.2001.0020.

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Robson, Bonnie E. "Competition in Sport, Music, and Dance." Medical Problems of Performing Artists 19, no. 4 (December 1, 2004): 160–66. http://dx.doi.org/10.21091/mppa.2004.4026.

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This paper reviews the literature in sports psychology that may be relevant in the study of competition in music and dance education, giving the reader a basis for comparison of the arts literature. Opinions vary on whether competition is good or bad for the developing child. Some believe that competitiveness is innate behavior and that competition is a motivation for high achievement. Others believe that competition detracts from performance as the increased stress and anxiety lead to a decrease in focus and, perhaps, to a decrease in self-esteem, especially for individuals with an ego orientation (a focus on comparison with others) as opposed to a mastery orientation (focus on improvement of one’s own skills). The instruments used to measure the temperamental characteristics related to competition are discussed, including the Competitive Trait Anxiety Inventory and the Competitive State Anxiety Inventory. The paper then discusses the specific research that has been done on competition in music education and in dance education. Further research is needed to determine how much competition is healthy and whether the work in sports psychology can be adapted to research in the arts.

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

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