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Artigos de revistas sobre o tema "Music and philosophy"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 29 de julho 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

Bagaskara, Akbar, Kun Setyaning Astuti, and Umilia Rokhani. "Filsafat musik: Memahami esensi, perkembangan, dan relevansinya." Imaji: Jurnal Seni dan Pendidikan Seni 22, no. 1 (April 28, 2024): 71–78. http://dx.doi.org/10.21831/imaji.v22i1.71954.

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Tujuan dari penelitian ini adalah untuk menyelidiki serta menguraikan ilmu filsafat musik dari banyak dimensi, mulai dari pendefinisian esensinya hingga perkembangan keilmuannya sepanjang sejarah dan relevansinya di era kontemporer. Metode penelitian yang digunakan dalam peneltian kali ini adalah metode kualitatif, dengan ciri lebih mengedepankan pada analisis fenomena sosial budaya yang luas dan mendalam. Teori analisis data yang diaplikasikan pada penelitian ini adalah model dari Miles dan Huberman dengan konsep empat tahapan analisis data yaitu pengumpulan data, reduksi data, penyajian data

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3

Nicholls, Tracey. "Music and Philosophy." Symposium 11, no. 2 (2007): 476–79. http://dx.doi.org/10.5840/symposium200711246.

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4

Andriopoulos, D. Z. "Philosophy and Music." Philosophical Inquiry 32, no. 3 (2010): 93–108. http://dx.doi.org/10.5840/philinquiry2010323/46.

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5

Levinson, Jerrold. "Philosophy and Music." Topoi 28, no. 2 (August 8, 2009): 119–23. http://dx.doi.org/10.1007/s11245-009-9055-6.

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6

Kertz-Welzel, Alexandra. "What Kant Really Said: Facts and Fiction in International Music Education Philosophy." Philosophy of Music Education Review 32, no. 1 (March 2024): 16–33. http://dx.doi.org/10.2979/pme.00004.

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Abstract: In international philosophy of music education, there are some philosophers who are important points of reference. One of them is the German Immanuel Kant (1724–1804). While his philosophy is complex, an oversimplified understanding of his ideas turned him into the “bad guy” of international music education philosophy, being in favor for instance of art for its own sake. His assumed ideas are thought to be the foundation of aesthetic education, in opposition to music education concepts promoting praxis and social change. The prominent role Kant plays leads to questions: Can an eighte

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7

Ćuk, Barbara. "Hrotsvit of Gandersheim and Philosophy." Nova prisutnost XXII, no. 1 (March 15, 2024): 29–43. http://dx.doi.org/10.31192/np.22.1.2.

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Hrotsvit of Gandersheim sees music and arithmetic as parts of philosophy. Presenting the motives for engaging in literary creativity and describing her writing process, she says that by glorifying God with her work, she incorporated threads and pieces of the ancient mantle of philosophy into it. The paper aims to provide insight into Hrotsvit’s knowledge of philosophy and the specificities and significance of her approach to the contents of the disciplines of arithmetic and music (in particular to musica humana and the harmony of a world) in her plays Paphnutius and Sapientia, to analyze diffe

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8

Haines, John, and Patricia DeWitt. "JOHANNES DE GROCHEIO AND ARISTOTELIAN NATURAL PHILOSOPHY." Early Music History 27 (October 2008): 47–98. http://dx.doi.org/10.1017/s0261127908000284.

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Johannes de Grocheio is best known today primarily for the fact that he wrote about secular monophony, a subject practically ignored by previous music writers. In Grocheio’s only surviving treatise, which modern scholarship has christened De musica (it is actually untitled in the manuscripts), he provides an unparalleled witness to Parisian musical life around 1300 through a wide-ranging classification of musical performances. The treatise’s tantalisingly realistic observations have been by far the most discussed aspect of De musica in over a century of modern scholarship ranging from an early

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9

Espiña, Yolanda. "Presentation – Philosophy of Music." Philosophy of Music 74, no. 4 (December 30, 2018): 911–16. http://dx.doi.org/10.17990/rpf/2018_74_4_0911.

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10

Sulka, Emily. "Shakespeare's Philosophy of Music." Musical Offerings 8, no. 2 (2017): 41–50. http://dx.doi.org/10.15385/jmo.2017.8.2.1.

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11

Dammann, G. "Music, Philosophy, and Modernity." British Journal of Aesthetics 48, no. 4 (October 1, 2008): 459–61. http://dx.doi.org/10.1093/aesthj/ayn036.

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12

Davies, S. "Philosophy, Music and Emotion." Australasian Journal of Philosophy 81, no. 2 (June 2003): 281–83. http://dx.doi.org/10.1080/713659615.

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13

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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14

Ilnitchi, Gabriela. "MUSICA MUNDANA, ARISTOTELIAN NATURAL PHILOSOPHY AND PTOLEMAIC ASTRONOMY." Early Music History 21 (September 4, 2002): 37–74. http://dx.doi.org/10.1017/s0261127902002024.

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Emanating from a cosmos ordered according to Pythagorean and Neoplatonic principles, the Boethian musica mundana is the type of music that ‘is discernible especially in those things which are observed in heaven itself or in the combination of elements or the diversity of seasons’. At the core of this recurring medieval topos stands ‘a fixed sequence of modulation [that] cannot be separated from this celestial revolution’, one most often rendered in medieval writings as the ‘music of the spheres’ (musica spherarum). In the Pythagorean and Neoplatonic cosmological traditions, long established by

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15

Fiske, Harold E., and David J. Elliott. "Music Matters: A New Philosophy of Music Education." Notes 53, no. 3 (March 1997): 770. http://dx.doi.org/10.2307/899720.

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16

LeBlanc, Albert. "Music Matters: A New Philosophy of Music Education." Music Educators Journal 82, no. 4 (January 1996): 61–62. http://dx.doi.org/10.2307/3398921.

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17

Gauthier, Delores, and John Lychner. "Music Matters: A New Philosophy of Music Education." Journal of Music Teacher Education 5, no. 2 (June 1996): 30–32. http://dx.doi.org/10.1177/105708379600500206.

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18

Sarrazin, Natalie, and David J. Elliott. "Music Matters: A New Philosophy of Music Education." Ethnomusicology 40, no. 3 (1996): 517. http://dx.doi.org/10.2307/852476.

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19

Gonzol, David J. "Otto Rudolph Ortmann, Music Philosophy, and Music Education." Philosophy of Music Education Review 12, no. 2 (2004): 160–80. http://dx.doi.org/10.1353/pme.2005.0006.

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20

Gulzhikhan, Nurysheva, and Tercan Nurfer. "AL-FARABI’S PHILOSOPHY OF MUSIC." Al-Farabi 74, no. 2 (June 30, 2021): 3–17. http://dx.doi.org/10.48010/2021.2/1999-5911.01.

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Scientists propose to understand the effect of music on the human psyche, knowledge about the soul, science, metaphysics, and spheres. At the center of all these discussions, we assume researchers are not focusing on how music triggers emotions. In this century we live in, most writers agree that this is the most crucial issue. Today’s researchers want to know why music creates strong emotional reactions in people with scientific explanations. Our study aims to find answers to today’s questions between the 9th and 10th centuries, indicated as the golden age of Islamic culture. We aimed to shed

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21

Oehrle, Elizabeth. "Challenges in Music Education Facing the New South Africa." British Journal of Music Education 15, no. 2 (July 1998): 149–54. http://dx.doi.org/10.1017/s0265051700009293.

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South Africa is undergoing dynamic changes affecting all aspects of life, and legacies of the previous regime have a bearing on these changes. Music educators informal institutions face many challenges. Music-making in the informal sector is extensive, ongoing and relevant. Today, one of the greatest challenges for music educators in the formal sector is to realise the importance and value of developing a philosophy and process of music education that emanates and evolves from musics and musical practices existing in southern Africa.

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22

McAuley, Tomas. "Missing the Wrong Target: On Andrew Bowie’s Rejection of the Philosophy of Music." Performance Philosophy 1, no. 1 (April 10, 2015): 59. http://dx.doi.org/10.21476/pp.2015.1126.

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Andrew Bowie rejects the philosophy of music. He does so because it (allegedly) objectifies music and because it (allegedly) only ever affirms the practitioner’s prior philosophical assumptions. I argue that Bowie’s rejection is illegitimate on two counts. First, he mischaracterises the philosophy of music. I show how. Second, even if his characterisation of the philosophy of music were a faithful representation of that discipline, his reasons for rejecting it would still not be sufficient. In particular, Bowie criticises the philosophy of music for not engaging properly with its ‘other’ (musi

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23

Reimer, Bennett. "A Philosophy of Music Education." Journal of Aesthetics and Art Criticism 49, no. 3 (1991): 279. http://dx.doi.org/10.2307/431496.

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24

Volkova, Polina S. "Osip Mandelstam: Music as Philosophy." Russian Studies in Philosophy 59, no. 2 (March 4, 2021): 146–53. http://dx.doi.org/10.1080/10611967.2021.1928953.

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25

McCarthy, Marie, and J. Scott Goble. "Music Education Philosophy: Changing Times." Music Educators Journal 89, no. 1 (September 2002): 19–26. http://dx.doi.org/10.2307/3399880.

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26

Blondel, Eric. "Philosophy and Music in Nietzsche." International Studies in Philosophy 18, no. 2 (1986): 87–95. http://dx.doi.org/10.5840/intstudphil198618262.

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27

Tan, Charlene. "Teaching Philosophy Using Music Videos." Thinking: The Journal of Philosophy for Children 19, no. 1 (2008): 44–48. http://dx.doi.org/10.5840/thinking20081917.

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28

Lippman, Edward A. "A Humanistic Philosophy of Music." International Review of the Aesthetics and Sociology of Music 19, no. 1 (June 1988): 132. http://dx.doi.org/10.2307/836456.

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29

Gallope, Michael, Brian Kane, Steven Rings, James Hepokoski, Judy Lochhead, Michael J. Puri, and James R. Currie. "Vladimir Jankélévitch's Philosophy of Music." Journal of the American Musicological Society 65, no. 1 (2012): 215–56. http://dx.doi.org/10.1525/jams.2012.65.1.215.

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30

Bicknell, Jeanette. "Philosophy of Music: An Introduction." British Journal of Aesthetics 45, no. 4 (October 1, 2005): 447–48. http://dx.doi.org/10.1093/aesthj/ayi057.

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31

Richerme, Lauren Kapalka. "Philosophy in the Music Classroom." Music Educators Journal 102, no. 1 (August 28, 2015): 62–68. http://dx.doi.org/10.1177/0027432115588957.

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32

Koopman, C. "Review: Philosophy, Music and Emotion." Mind 112, no. 448 (October 1, 2003): 759–62. http://dx.doi.org/10.1093/mind/112.448.759.

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33

Rychter, Marcin. "Music and Philosophy: Contemporary Challenges." Eidos. A Journal for Philosophy of Culture 3, no. 3 (October 30, 2019): 1–4. http://dx.doi.org/10.14394/eidos.jpc.2019.0026.

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34

Hedden, Debra Gordon. "A Philosophy of General Music." General Music Today 16, no. 1 (October 2002): 1–5. http://dx.doi.org/10.1177/10483713020160010501.

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35

Bischin, Maria-Roxana. "The Piano’s Sound Apperception in Havasi Balázs’s Compositions, with Some Remarks from Alfred Whitehead and Theodore Ziolkowski." Sæculum 47, no. 1 (July 1, 2019): 137–48. http://dx.doi.org/10.2478/saec-2019-0013.

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AbstractIn a world full of suffering, the only thing that remains is music. Due to the present situation of the music in our lives and problems of the research in the field of philosophy of the music, it becomes a special priority for us to try to investigate the new sense of the contemporary music. The nature, the sensitive part of our feelings and the perceptions, have made possible the fact that music can be lived. For a deeply examination of the philosophy of Havasi’s symphonies, we should ask ourselves if the essence of the sound becomes a part of our ʽlived worldʼ and if establishes Heid

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36

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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37

Octa Maria Sihombing, Jordi Istandar, and Evi Mariani. "Music And Philosophy In Relation To Christian Belief." Jurnal Riset Rumpun Seni, Desain dan Media 3, no. 1 (February 28, 2024): 50–79. http://dx.doi.org/10.55606/jurrsendem.v3i1.2358.

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This research explores the relationship between music and philosophy within the context of Christian faith. The research methodology employed is descriptive and qualitative, utilizing a hermeneutic approach that involves literature review, in-depth interviews, and qualitative analysis. The findings indicate that music, as an art form that utilizes sound, plays a significant role in expressing Christian faith, facilitating church worship, and fostering fellowship. Christian philosophy is the study of the nature of reality. It helps to understand the meaning of music in the context of Christian

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38

Gopinathan, Aditi, and Leonard Tan. "“Om”: Singing Vedic Philosophy for Music Education." Philosophy of Music Education Review 31, no. 1 (March 2023): 4–24. http://dx.doi.org/10.2979/pme.2023.a885189.

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Abstract: Extending a nascent line of Asian philosophical research in music education, we mine Indian philosophies of music and education. Three key questions guide our project: What are Vedic philosophies of music? What are Vedic philosophies of education? Taken together, what insights can we draw for contemporary music education writ large? To address our questions, we analyze key passages from the Upanishads and synthesize ideas from these texts. A quartet of inter-related ideas emerge from our analysis: the guru , the shishya, vidya , and moksha . In brief, the guru (teacher) is revered as

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39

Reimer, Bennett. "Should there be a universal philosophy of music education?" International Journal of Music Education os-29, no. 1 (May 1997): 4–21. http://dx.doi.org/10.1177/025576149702900103.

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The four themes of the Conference focus on the universal dimension of music, claiming that music speaks universally to all generations, times, cultures, and nations. if that is the case, it should also be the case that a universal philosophy of music education – a coherent system of beliefs about the nature and value of music and its role in education and in life, applicable to all generations, times, cultures, and nations – should exist or can exist or does exist. However, no such universal philosophy has been articulated and has been recognized by the world's music educators to be universall

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40

Ercole, Venessa. "Nietzsche and Music." Nietzsche-Studien 50, no. 1 (September 8, 2021): 329–39. http://dx.doi.org/10.1515/nietzstu-2021-500119.

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Abstract As the relationship between music and philosophy in Nietzsche’s thought and life continues to fascinate, new approaches to the treatment of music in Nietzsche studies have emerged which take seriously the importance of music, not only in Nietzsche’s life, but for his philosophical project as a whole. While Nietzsche’s often-quoted claim that life without music would be a mistake was once treated as a quip, the quality and breadth of the works reviewed here demonstrate that this invaluable area of Nietzsche’s thought is finally receiving the rigorous treatment it deserves. The works be

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41

Ercole, Venessa. "Nietzsche and Music." Nietzsche-Studien 50, no. 1 (August 18, 2021): 329–39. http://dx.doi.org/10.1515/nietzstu-2021-0017.

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Abstract As the relationship between music and philosophy in Nietzsche’s thought and life continues to fascinate, new approaches to the treatment of music in Nietzsche studies have emerged which take seriously the importance of music, not only in Nietzsche’s life, but for his philosophical project as a whole. While Nietzsche’s often-quoted claim that life without music would be a mistake was once treated as a quip, the quality and breadth of the works reviewed here demonstrate that this invaluable area of Nietzsche’s thought is finally receiving the rigorous treatment it deserves. The works be

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42

Kolomiets, G. G., and D. Rasul-Kareyev. "Philosophical Conversations about Music in Simple Language. Pythagoras: the Divine Number and World Musical Harmony." Concept: philosophy, religion, culture 7, no. 2 (June 18, 2023): 154–67. http://dx.doi.org/10.24833/2541-8831-2023-2-26-154-167.

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The article is written on the basis of a conversation on the philosophy of music by Professor G.G. Kolomiets, author of the book Value of music: philosophical aspect, with a musician from France, Dmitry Rasul-Kareev, Clarinet solo of Orchestra de la Suisse Romande. The dialogue gives a detailed and simple understanding of the philosophical view of music on the example of the ancient philosopher Pythagoras. His cosmological teaching saw the kinship of music, mathematics and philosophy and stated that the divine perception of the world is contained in the divine Number permeating the entire cosm

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43

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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44

Wates, Roye E., and Lewis Rowell. "Thinking about Music: An Introduction to the Philosophy of Music." Journal of Music Theory 30, no. 1 (1986): 141. http://dx.doi.org/10.2307/843414.

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45

Humphreys, Jere T. "Book Review: Music Matters: A New Philosophy of Music Education." Bulletin of Historical Research in Music Education 17, no. 2 (January 1996): 153–59. http://dx.doi.org/10.1177/153660069601700205.

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46

Polo Pujadas, Magda. "Philosophy of Music: Wittgenstein and Cardew." Philosophy of Music 74, no. 4 (December 30, 2018): 1425–36. http://dx.doi.org/10.17990/rpf/2018_74_4_1425.

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The article focuses on the experimental music that emerged after the Second World War and in graphic musical notation. He has a special interest in the influence exercised by the reading of the Tractatus Logico Philosophicus in the musical work Treatise by Cornelius Cardew. The isomorphism between language and reality and the different types of propositions formulated by the first Wittgenstein represent a new conception of music in the composer.

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47

LAURAND, VALERY. "LES EFFETS ÈTHIQUES DE LA MUSIQUE : LA LECTURE PROBLÈMATIQUE DE DIOGÈNE DE BABYLONE PAR PHILODÈME DE GADARA." Méthexis 27, no. 1 (March 30, 2014): 197–214. http://dx.doi.org/10.1163/24680974-90000639.

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This paper deals with the place Diogenus of Babylon grants music within the realm of ethical education and training, as reported in Philodemus of Gadara’s (partisan) testimony in his De Musica, wherein it is stated that music encourages men to cultivate virtue and strengthen it. By exploring the controversy between Epicureanism and Stoicism, this paper aims to understand how, according to Stoic thought, cognitive sense-perception (ἐπɩστημoνKὴ σἲσθησɩᴤ) could have an ethical outcome, the sensory experience thus proving its expertise within the field of ethics, and succeeding in changing man's v

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48

Jamnongsarn, Surasak. "TRANSKULTURASI MUSIK ANTARAGAMELAN JAWA, ANGKLUNG, DAN MUSIK TRADISI THAILAND." MELAYU ARTS AND PERFORMANCE JOURNAL 2, no. 2 (January 20, 2020): 158. http://dx.doi.org/10.26887/mapj.v2i2.975.

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Javanese gamelan and angklung to Thailand music gives the impact on the development of Thailand traditional music. That musical transculturation exists in the musical instrument of angklung and the musical concept of Javanese gamelan that are then mixed with the system of Thailand traditional music involving gamut (tuning system), presentment method, and its function in society. This transculturation shows the understanding of cultural relation between Thailand traditional music that has the background of Buddhism philosophy and Gamelan that has the background of Kejawen syncretism. These two

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49

Trivedi, Saam, and Stephen Davies. "Themes in the Philosophy of Music." Journal of Aesthetic Education 37, no. 3 (2003): 108. http://dx.doi.org/10.2307/3527308.

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50

Truitt, Willis, Ernst Bloch, and Peter Palmer. "Essays on the Philosophy of Music." Journal of Aesthetics and Art Criticism 45, no. 4 (1987): 421. http://dx.doi.org/10.2307/431339.

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