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

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 29 de julio de 2024

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1

Sunarto, Sunarto. "Pemikiran Hanslick tentang Estetika dan Kritik Musik." PROMUSIKA 3, 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 grou

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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.

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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

Wang, Yijie. "Aesthetic Discussion of Music Art from Philosophical Perspective." Journal of Education and Educational Research 7, no. 3 (March 3, 2024): 268–70. http://dx.doi.org/10.54097/kv9z2q70.

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"Chinese music" is a grand concept, only from a point of view cannot fully understand its essence and value. Using cultural philosophy to deeply analyze the birth and development track of Chinese music art is based on a new way of thinking to interpret the art form. Throughout the development history of music aesthetics at home and abroad, philosophical speculation in music aesthetics has always been the theoretical basis for academic circles to focus on. Starting from the objective mechanism of music development, the epistemology and methodology of philosophy have always been the foundation o

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5

Šuvaković, Miško. "Critical Questiones About Deconstrution or About De-Centring Of The Relation Between Philosophy And Music." Musicological Annual 41, 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

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6

Dr. Muhmmad Jawwad. "Influence of Kant’s Aesthetics on the Aesthetics of Collingwood." sjesr 6, no. 2 (June 30, 2023): 148–52. http://dx.doi.org/10.36902/sjesr-vol6-iss2-2023(148-152).

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R. G. Collingwood is supposed to be one of the most important Aesthetes of 20th Century. He was a multi-talented person having original ideas in the fields of Philosophical History (his most famous book is ‘Idea of History’), Aesthetics and Anthropology. He was a practitioner in the field of Archaeology and Music. His second most famous book is ‘Principles of Art.’ He is supposed to be an original philosopher of Art too. His Philosophy of Art has much to do and has much connections with the Aesthetics of Immanuel Kant. Kant was a multi-dimensional genius, presenting before the world very origi

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7

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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8

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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9

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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10

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

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11

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 b

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12

ABAYLI, Özcan. "AESTHETIC THEORY IN TURKIS MUSIC PERFORMANCE METHODS." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 39 (September 15, 2023): 425–34. http://dx.doi.org/10.31567/ssd.1014.

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The issue of what should be the elements that make up the aesthetics in Turkish Music performance methods has not been adequately addressed scientifically. However, Turkish music contains the rich aesthetic accumulation of a deep-rooted cultural heritage that extends to the present day. It is inevitable that the aesthetic elements in the maqam, rhythm and melodic structures of Turkish Music works will make significant contributions to both academic studies and performance. In this context, aesthetics and music philosophy especially in the creation processes of musical works have a special impo

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13

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.

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14

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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15

Munte, Alfonso, Destri Natalia, Elsa Magdalena, Nicolhas Jurdy Wijaya, and Reynhard Malau. "Aesthetic Musicality of Arthur Schopenhauer and New Testament Throughout the Ages." Journal of Social and Humanities 1, no. 1 (March 11, 2023): 16–22. http://dx.doi.org/10.59535/jsh.v1i1.15.

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Based on the qualitative research, data seeking technique was applied through literature reviews. Literature studies used secondary sources or previous research from researchers associated with music, aesthetics, and the New Testament. The previous studies showed a diversity of views which led to aesthetic participation of music in melodies, rhythms and tempos in an axiological sense and musical aesthetics as a depiction of feelings, struggles (parents, children, [female] activists), and manuscript excavation tools throughout the ages. These tools of aesthetics are fused with the thoughts of p

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16

Ferreira, Emmanoel. "Agency, Appropriation, Politics: Three Epistemological Keys Towards an Aesthetics of Play." Acta Ludologica 6, no. 2 (2023): 62–78. http://dx.doi.org/10.34135/actaludologica.2023-6-2.62-78.

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

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17

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

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18

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

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19

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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20

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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21

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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22

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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23

Kreis, Guido. "Xunzi and Zhuangzi on Music: Two Ways of Modeling the Ethical Significance of Art." Journal of Chinese Philosophy 50, no. 1 (April 5, 2023): 64–80. http://dx.doi.org/10.1163/15406253-12340090.

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

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24

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…

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25

Azeez Gardi, Zhwan Abdul-Salam. "Aesthetics (Importance and Philosophy) Some Aspects of The New Poets’ Poems as Samples." JOURNAL OF LANGUAGE STUDIES 6, no. 3, 1 (April 1, 2023): 279–83. http://dx.doi.org/10.25130/jls.6.3.1.21.

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This study attempts to present the importance and philosophy of the aesthetics devices through the new poets’ poems, this is because aesthetics discipline is one of the significant aspects of rhetorics that the poets used in writing their poems. The aesthetics works and interacts with the music all the way up to create beauty and meaning inside and among the words and the lines, and finally to make miscellaneous images in the most beautiful style and possible ways either in the lexical aesthetics andor in the meaning one. This study comprises of a preface and two sections: the preface provides

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26

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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27

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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28

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 an

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29

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

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30

Kondakov, Igor Vadimovich. "Music versus Politics." Pan-Art 3, no. 1 (January 10, 2023): 78–82. http://dx.doi.org/10.30853/pa20230001.

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This essay presents the situation concerning the music philosophy in the XX century: the factor of politics gradually was established in the paradigm of artistic culture. It is shown that the politics became a permanent violence in relation to art as in relation to life. This permanent violence is a will for power or a clear will for dominating life and art which can move apart and then inextricably intertwine. Thus, the politics appears in her unconventional artistic and aesthetic discourse: being aesthetic in life and artistic in art. In this paper the phenomenon of the origin of the indivis

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31

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 identifyin

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32

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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33

Mahmud, Nazia B. "The Aesthetic Asceticism of the Mad." COMPASS 3, no. 1 (September 29, 2023): 8–19. http://dx.doi.org/10.29173/comp68.

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The Bauls of Bangladesh, West Bengal, and other parts of India are a distinct ascetic sect that practices spirituality through songs, music, and poetry that were passed down orally from a teacher (Guru) to a disciple (Shirsha). Their ideology is a mix of yogic-tantric practices of Buddhist Sahajiya, Vaishnavism Sahajiya, and later Sufi thoughts. Bauls are often called a heretic sect because of their rejection of institutionalized religion, consumerism, society, and, for many Bauls, even marriage. Baul songs and spirituality emphasize the search for the connection between man and the Divine and

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34

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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35

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 &ldquo;Black Arts&rdquo; movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impac

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36

Razbeglova, Tatyana P. "Immanuel Kant on Music: Paradoxes of Aesthetic Rationalism." Contemporary Musicology, no. 4 (2021): 79–94. http://dx.doi.org/10.56620/2587-9731-2021-4-079-094.

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The article explores the reasons behind the inconsistency of Kant's perspective on the art of music. Kant’s aesthetics is a strict and harmonious system underpinning the analysis of aesthetic consciousness. His views produced a huge impact on the subsequent development of aesthetic thought. Despite certain contradictions, the Kantian philosophical system and, in particular, his aesthetic views are of timeless value. In this respect, it is paramount to explore these contradictions and understand their role in the Kantian philosophy. Kant was repeatedly reproached for his formal approach to aest

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37

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 concer

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38

Zelić, Tomislav. "The Nondiscursive Aesthetics of Music, Lyric Poetry, and Tragedy." Philosophy and Literature 47, no. 2 (October 2023): 342–58. http://dx.doi.org/10.1353/phl.2023.a913810.

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

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39

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

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40

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 do

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41

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

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42

Bidon-Chanal, Sol. "Hearing A New World: The Aesthetic Use of Technology in Pop-Rock." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 15, 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

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43

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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44

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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45

Kolomiets, G. G. "A. F. Losev on the Neoplatonic Essence of Music in the Context of the Philosophy of Substantial Musical Existence (to the 130th Anniversary of the Birth of Aleksey Fedorovich Losev)." Intellect. Innovations. Investments, no. 5 (2023): 121–29. http://dx.doi.org/10.25198/2077-7175-2023-5-121.

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The article is written in connection with the anniversaries of the life of the great Russian thinker Alexey Fedorovich Losev and is devoted to one of the aspects of his aesthetic research related to the interpretation of music in Neoplatonism. This article makes sense to emphasize the substantial ontological essence of music, relying on Losev’s phenomenological-dialectical method, on his commitment to Neoplatonism as the last significant ancient philosophical movement. Losev considered the philosophical foundations of music in the cosmological treatises of such philosophers as Quintilian, Proc

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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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47

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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48

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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49

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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50

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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