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427:(2004, p. 17-9) argues that, "'bad music' is a necessary concept for musical pleasure, for musical aesthetics." He distinguishes two common kinds of bad music: the Worst Records Ever Made type, which include "Tracks which are clearly incompetent musically; made by singers who can't sing, players who can't play, producers who can't produce," and "Tracks involving genre confusion. The most common examples are actors or TV stars recording in the latest style." Another type of "bad music" is "rock critical lists," such as "Tracks that feature sound gimmicks that have outlived their charm or novelty" and "Tracks that depend on false sentiment , that feature an excess of feeling molded into a radio-friendly pop song."
130:, which attempted to tell a story or depict a landscape using instrumental music. Although history portrays Hanslick as Wagner's opponent, in 1843 after the premiere of Tannhäuser in Dresden, Hanslick gave the opera rave reviews. He called Wagner, âThe great new hope of a new school of German Romantic opera.â Thomas Grey, a musicologist specializing in Wagnerian opera at Stanford University argues, âOn the Beautiful in Music was written in riposte of Wagner's polemic grandstanding and overblown theorizing.â Hanslick and his partisans asserted that instrumental music is simply patterns of sound that do not communicate any emotions or images.
452:. He attacked popular music claiming that it is simplistic and repetitive, and encourages a fascist mindset (1973, p. 126). Besides Adorno, Theodore Gracyk provides the most extensive philosophical analysis of popular music. He argues that conceptual categories and distinctions developed in response to art music are systematically misleading when applied to popular music (1996). At the same time, the social and political dimensions of popular music do not deprive it of aesthetic value (2007).
434:), and stupid. He argues that "The marking off of some tracks and genres and artists as 'bad' is a necessary part of popular music pleasure; it is a way we establish our place in various music worlds. And 'bad' is a key word here because it suggests that aesthetic and ethical judgements are tied together here: not to like a record is not just a matter of taste; it is also a matter of argument, and argument that matters" (p. 28). Frith's analysis of popular music is based in sociology.
300:
this âimmediate mediumâ, discovered along with the eighteenth-century invention of âaestheticsâ, features heavily in philosophy's encounters with music during the nineteenth century. It seems more fruitful now to unfold the paradox of the immediate medium through a web of alternative notions such as sound and matter, sensation and sense, habituation and innovation, imagination and desire, meaning and interpretation, body and gesture."
295:, who regarded musical form as a means to other artistic ends. Recent research, however, has questioned the centrality of that strife: "For a long time, accounts of aesthetic concerns during that century have focused on a conflict between authors who were sympathetic to either form or content in music, favouring either âabsoluteâ or âprogramme musicâ respectively. That interpretation of the period, however, is worn out." Instead,
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444:, Adorno was extremely hostile to popular music. His theory was largely formulated in response to the growing popularity of American music in Europe between World War I and World War II. As a result, Adorno often uses "jazz" as his example of what he believed was wrong with popular music; however, for Adorno this term included everyone from
316:) believed that music was essentially pure because it didn't represent anything, or make reference to anything beyond itself. In a sense, they wanted to bring poetry closer to Hanslick's ideas about the autonomous, self-sufficient character of music. (Bucknell 2002) Dissenters from this view notably included
406:
in the 20th century was a critic of much popular music. Others in the 21st century, such as Eugene W. Holland, have constructively proposed jazz improvisation as a socio-economic model, and Edward W. Sarath has constructively proposed jazz as a useful paradigm for understanding education and society.
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places the tension between music's sensual immediacy and its intellectual mediations centre stage for 19th century aesthetics: "Music seems to touch human beings more immediately than any other form of art; yet it is also an elaborately mediated phenomenon steeped in complex thought. The paradox of
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are cultivated in people by the culture industries. These needs can be both created and satisfied by the capitalist system, and can replace people's 'true' needs: freedom, full expression of human potential and creativity, and genuine creative happiness. Thus, those trapped in the false notions of
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argued that instrumental music is the greatest art, because it is uniquely capable of representing the metaphysical organization of reality. He felt that because music neither represents the phenomenal world, nor makes statements about it, it bypasses both the pictorial and the verbal. He believed
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that music has a direct effect on the soul. Therefore, he proposes that in the ideal regime, music would be closely regulated by the state (Book VII). There has been a strong tendency in the aesthetics of music to emphasize the paramount importance of compositional structure; however, other issues
41:
concerts and write a review which assesses the conductor and orchestra's interpretation of the pieces they played. The critic uses a range of aesthetic evaluation tools to write their review. They may assess the tone of the orchestra, the tempos that the conductor chose for the symphony movements,
65:
in music, and with the creation or appreciation of beauty in music. In the pre-modern tradition, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization. In the eighteenth century, focus shifted to the experience of
257:
Although the
Romantic movement accepted the thesis that instrumental music has representational capacities, most did not support Schopenhauer's linking of music and metaphysics. The mainstream consensus endorsed music's capacity to represent particular emotions and situations. In 1832, composer
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that music was much closer to the true nature of all things than any other art form. This idea would explain why, when the appropriate music is set to any scene, action or event is played, it seems to reveal its innermost meaning, appearing to be the most accurate and distinct commentary of it.
331:
is the most prominent composer to defend the modernist idea of musical autonomy. When a composer creates music, Stravinsky claims, the only relevant thing "is his apprehension of the contour of the form, for the form is everything. He can say nothing whatever about meanings" (Stravinsky 1962,
225:
is generally considered the most important and influential work on aesthetics in the 18th century, argued that instrumental music is beautiful but ultimately trivial. Compared to the other fine arts, it does not engage the understanding sufficiently, and it lacks moral purpose. To display the
365:
has contributed extensively to the aesthetics of music. Analytic philosophy pays very little attention to the topic of musical beauty. Instead, Kivy inspired extensive debate about the nature of emotional expressiveness in music. He also contributed to the debate over the nature of authentic
291:, divided aestheticians into two competing groups: On the one side were formalists (e.g., Hanslick) who emphasized that the rewards of music are found in appreciation of musical form or design, while on the other side were anti-formalists, such as
415:
Eugene W. Holland has proposed jazz improvisation as a model for social and economic relations in general. Similarly, Edward W. Sarath has constructively proposed jazz improvisation as a model for change in music, education, and society.
125:
regarding whether instrumental music could communicate emotions to the listener. Wagner and his disciples argued that instrumental music could communicate emotions and images; composers who held this belief wrote instrumental
335:
The most distinctive development in the aesthetics of music in the 20th century was that attention was directed at the distinction between 'higher' and 'lower' music, now understood to align with the distinction between
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suggested that culture industries churn out a debased mass of unsophisticated, sentimental products that have replaced more 'difficult' and critical art forms that might lead people to actually question social life.
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of music and our experience of these properties: Musical experience is an awareness of an array of sounds and out the sound structure and its aesthetic properties. This is the content of musical experience."
238:
in music, some composers and critics argued that music should and could express ideas, images, emotions, or even a whole literary plot. Challenging Kant's reservations about instrumental music, in 1813
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beautiful (closing the treatise with a discussion of the minuet), but treated music important only insofar as it could provide the proper accompaniment for the dancers.
324:. Far from being a new debate, this disagreement between modernists and their critics was a direct continuation of the 19th-century debate about the autonomy of music.
215:
However, by the end of the century, people began to distinguish the topic of music and its own beauty from music as part of a mixed media, as in opera and dance.
1044:
Sorce Keller, Marcello. âWhy is Music so
Ideological, Why Do Totalitarian States Take It So Seriously: A Personal View from History, and the Social Sciencesâ,
198:
In the 18th century, music was considered so far outside the realm of aesthetic theory (then conceived of in visual terms) that music was barely mentioned in
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p. 115). Although listeners often look for meanings in music, Stravinsky warned that these are distractions from the musical experience.
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performances of older music arguing that much of the debate was incoherent because it failed to distinguish among four distinct standards of
272:
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the taste and judgement showed by the conductor in their creative choices, and even the selection of pieces which formed the concert program.
2197:
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Appelqvist, Hanne. âForm and
Freedom: The Kantian Ethos of Musical Formalism.â The Nordic Journal of Aesthetics No. 40 (2010â2011), 75â88.
673:
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combination of genius and taste that combines ideas and beauty, Kant thought that music must be combined with words, as in song and opera.
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1174:, ed. Elisabeth Kappel and Andreas Dorschel. Vienna â London â New York: Universal Edition, 2010 (Studien zur Wertungsforschung 50).
1332:
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394:, Zangwill introduces his realist position by stating, "By 'realism' about musical experience, I mean a view that foregrounds the
113:, and other non-philosophers have contributed to the aesthetics of music. In the 19th century, a significant debate arose between
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art movements and popular music of today and that of past decades and even centuries. His story involves drawing lines between
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Sorgner, S. L./Fuerbeth, O. (ed.) "Music in German
Philosophy: An Introduction". Chicago, University of Chicago Press, 2010.
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1179:
1008:
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Seashore, Carl. In Search of Beauty in Music; A Scientific
Approach to Musical Aesthetics. New York: Ronald Press Co., 1947.
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249:
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Kertz-Welzel, Alexandra. "In Search of the Sense and the Senses: Aesthetic
Education in Germany and the United States."
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Thomas Grey, Richard Wagner and His World edited by Thomas S. Grey. (Princeton: Princeton
University Press, 2009), 409.
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276:. The thesis that the value of music is related to its representational function was vigorously countered by the
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beauty according to a capitalist mode of thinking can only hear beauty in dishonest terms (citation necessary).
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Bertinetto, Alessandro. "Il pensiero dei suoni. Temi di filosofia della musica". Milano: Bruno
Mondadori, 2012.
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Goehr, Lydia. 'The
Imaginary Museum of Musical Works. An Essay in the Philosophy of Music' Oxford, 1992/2007.
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79:
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Holland, Eugene W. (2004). "Studies in
Applied Nomadology: Jazz Improvisation and Post-Capitalist Markets".
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Kivy, Peter. The Corded Shell: Reflections on Musical Expression. Ithaca: Cornell University Press, 1980.
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Improvisation, Creativity, and Consciousness: Jazz as Integral Template for Music, Education, and Society
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Improvisation, Creativity, and Consciousness: Jazz as Integral Template for Music, Education, and Society
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958:. Paul Guyer (ed.), Paul Guyer and Eric Matthews (trans.), Cambridge: Cambridge University Press, 2000.
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have extended the study of aesthetics in music as studied in the 20th century by scholars such as
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Sessions, Roger. The Musical Experience of Composer, Performer, ListenerNew York: Atheneum, 1966.
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Sound Sentiment: An Essay on the Musical Emotions Including the Complete Text of the Corded Shell
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Frith, Simon. "What is Bad Music" in Washburne, Christopher J. and Derno, Maiken (eds.) (2004).
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Frith gives three common qualities attributed to bad music: inauthentic, bad taste (see also:
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Deleuze, Guattari and the Production of the New, Simon O'Sullivan & Stephen Zepke, Eds.
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argued that music was fundamentally the art of instrumental composition. Five years later,
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Contemporary music in the 20th and 21st centuries has had both supporters and detractors.
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93:. In the 20th century, important contributions to the aesthetics of music were made by
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Listening to Popular Music: Or How I Learned to Stop Worrying and Love Led Zeppelin
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Since ancient times, it has been thought that music has the ability to affect our
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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of Music: Archaic Dreams in Romantic Aesthetics and an Education in Aesthetics."
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824:. Anne G. Mitchell and Wesley V. Blomster (trans.) New York: Seabury Press, 1973.
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1167:. (Classic statement of an aesthetics of music based on the notion of 'form'.)
995:
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Holland, Eugene W. (2008). "Jazz Improvisation: Music of the People-to-Come".
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78:) of music. The origin of this philosophic shift is sometimes attributed to
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was a prominent philosopher who wrote on the aesthetics of popular music. A
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was "intended as a musical representation" of the final scene of a novel by
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hearing music, and thus to questions about its beauty and human enjoyment (
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1969:
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Oxford University Press, Oxford â New York, NY 2021, pp. 207â224, p. 207
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Oxford University Press, Oxford â New York, NY 2021, pp. 207â224, p. 207
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476:
449:
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235:
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320:, who argued against the alleged 'purity' of music in a classic work on
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2001:
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Gracyk, Theodore. "Adorno, Jazz, and the Aesthetics of Popular Music,"
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Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde
817:. Richard Leppert (ed.) Berkeley: University of California Press, 2002.
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Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde
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50:
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38:
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Looking for the 'Harp' Quartet: An Investigation into Musical Beauty
689:
Music and Aesthetic Reality: Formalism and the Limits of Description
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http://www.cengage.com/music/book_content/049557273X_wrightSimms.pdf
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Music and Aesthetic Reality: Formalism and the Limits of Description
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2026:
2006:
1871:
1282:
Zangwill, Nick. "Against Emotion: Hanslick Was Right About Music,"
1037:
Sorce Keller, Marcello. âOriginality, Authenticity and Copyrightâ,
483:, was published five years earlier by philosopher Bernard Gendron.
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2016:
987:. Ithaca: Cornell UP, 1990; 2nd edition, Oxford: Oxford UP, 2011.
441:
171:
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68:
994:. Translated by Benjamin Jowett. Oxford University Press: 1894.
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Authenticities: Philosophical Reflections on Musical Performance
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1996:
1974:
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58:
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Appen, Ralf von (2007). "On the aesthetics of popular music."
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Translated by Michael Hatwell. London: Macmillan Press, 1990.
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In: TomĂĄs McAuley, Nanette Nielsen, Jerrold Levinson (eds.),
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In: TomĂĄs McAuley, Nanette Nielsen, Jerrold Levinson (eds.),
209:
150:
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The Aesthetics of Popular Music (on-line encyclopedia entry)
145:; it can assuage our loneliness or incite our passions. The
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1108:
Musical Works and Performances: A Philosophical Exploration
909:
Musical Works and Performances: A Philosophical Exploration
954:
Volume 5, Berlin: Walter de Gruyter, 1902â. Translated as
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Deleuze and Music, Ian Buchanan & Marcel Swiboda, Eds.
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468:
54:
1145:. Thinking In Action Series. New York: Routledge, 2013.
1302:"On the aesthetics of popular music" by Ralf von Appen
312:
writers in the early 20th century (including the poet
2268:
The Work of Art in the Age of Mechanical Reproduction
1123:
Gracyk, Theodore. "The Aesthetics of Popular Music,"
1082:. New York and Oxford: Oxford University Press, 1998.
390:. In his 2014 book on the aesthetics of music titled
1314:
The Philosophy of Music (on-line encyclopedia entry)
952:
Kritik der Urteilskraft, Kants gesammelte Schriften,
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The Oxford Handbook of Western Music and Philosophy.
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The Oxford Handbook of Western Music and Philosophy.
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Vom Musikalisch-SchĂśnen. Tr. The Beautiful In Music
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New York: Continuum International Publishing, 2001.
1189:. Philadelphia, PA: Temple University Press, 1991.
1094:Music and the Emotions: The Philosophical Theories
606:
3056:
940:. Ann Arbor: University of Michigan Press, 2007.
1267:What Makes Music European. Looking Beyond Sound
846:Der Wert der Musik. Zur Ăsthetik des Populären.
980:. Philadelphia: Temple University Press, 1989.
2449:
1473:
1360:
1103:, Ithaca, NY: Cornell University Press, 1994.
933:. Chicago: University of Chicago Press, 2002.
2198:The Literary Mind and the Carving of Dragons
479:. A more scholarly study of the same topic,
1096:. London: Routledge & Kegan Paul. 1985.
1089:New York: Cambridge University Press, 2001.
158:concerning the aesthetics of music include
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2442:
1480:
1466:
1367:
1353:
965:. Ithaca: Cornell University Press, 1995.
947:. Durham, NC: Duke University Press, 1996.
378:In the 21st century, philosophers such as
284:, setting off the "War of the Romantics."
1224:. Oxford: Oxford University Press, 2001.
1087:Literary Modernism and Musical Aesthetics
860:Literary Modernism and Musical Aesthetics
786:by Craig Schuftan | Illiterarty.com"
410:
1246:Chicago: Chicago University Press, 1956.
1192:Juslin, Patrik N., and John A. Sloboda.
1110:. Oxford: Oxford University Press, 2001.
29:
2692:Temporal dynamics of music and language
1237:A History of Western Musical Aesthetics
1125:The Internet Encyclopedia of Philosophy
1048:, XXVI (2007), no. 2-3, pp. 91â122
945:Rhythm and Noise: An Aesthetics of Rock
740:
725:
14:
3057:
1279:. University of Rochester Press, 2011.
1196:Oxford: Oxford University Press, 2010.
755:
700:
2437:
1461:
1348:
1239:. University of Nebraska Press, 1992.
1129:http://www.iep.utm.edu/m/music-po.htm
1051:Stravinsky, Igor, with Robert Craft,
601:
503:List of aesthetic principles of music
2463:
1269:. Latham, NJ: Scarecrow Press, 2011.
1205:Philosophy of Music Education Review
1041:, VII (2007), no. 2, pp. 77â85.
1016:The World as Will and Representation
916:Bad Music: The Music We Love to Hate
455:In 2007 musicologist and journalist
250:The World as Will and Representation
1222:New Essays on Musical Understanding
1080:Philosophical Perspectives on Music
24:
1059:
760:. SUNY series in Integral Theory.
705:. SUNY series in Integral Theory.
89:Aesthetics is a sub-discipline of
25:
3081:
2637:Music in psychological operations
1290:
1046:Journal of Musicological Research
1003:. Oxford University Press, 1997.
956:Critique of the Power of Judgment
82:in the 18th century, followed by
2582:Generative theory of tonal music
2416:
1374:
1159:. Bobbs-Merrill Co (June 1957).
911:. Oxford: Clarendon Press, 2001.
234:In the 19th century, the era of
2592:Hedonic music consumption model
2489:Cognitive neuroscience of music
1138:76 no. 4 (Winter 1992): 526â42.
774:
749:
734:
463:, a book drawing links between
373:
303:
229:
193:
1487:
1284:British. Journal of Aesthetics
1214:39 no. 3 (Fall 2005): 104â116.
1212:Journal of Aesthetic Education
1207:13 no. 1 (Spring 2005): 77â94.
1199:Kertz-Welzel, Alexandra. "The
1155:Hanslick, Eduard (1885/1957).
1101:Musical Meaning and Expression
898:Musical Meaning and Expression
719:
694:
681:
658:
635:
613:. New York: Ballantine Books.
595:
586:
575:
568:Merriam-Webster.com Dictionary
555:
327:Among 20th-century composers,
53:that deals with the nature of
13:
1:
3029:Psychology of Music (journal)
2572:Eye movement in music reading
1244:Emotion and Meaning in Music.
831:Vol. VIII (1), 5â25. Online:
807:
2597:Illusory continuity of tones
2328:Aestheticization of politics
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1069:. New York, NY: Haven, 1987.
1055:. New York: Doubleday, 1962.
1053:Expositions and Developments
548:
419:
7:
3043:This Is Your Brain on Music
3022:Music, Thought, and Feeling
3008:Musicae Scientiae (journal)
1115:History of Music Aesthetics
985:Music, Art, and Metaphysics
486:
262:stated that his piano work
109:. However, many musicians,
10:
3086:
2816:Neuronal encoding of sound
2786:Melodic intonation therapy
2494:Culture in music cognition
1170:Hausegger, Friedrich von.
891:Cambridge University Press
868:Cambridge University Press
822:Philosophy of Modern Music
756:Sarath, Edward W. (2014).
701:Sarath, Edward W. (2014).
2992:
2854:
2758:
2710:
2542:Consonance and dissonance
2512:
2471:
2396:
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1942:
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1561:
1495:
1446:
1382:
287:This fight, according to
2831:Psychoanalysis and music
2811:Neurologic music therapy
2745:Music-specific disorders
2557:Embodied music cognition
2547:Deutsch's scale illusion
1286:, 44 (Jan. 2004), 29â43.
1265:Sorce Keller, Marcello.
1065:Alperson, Philip (ed.),
902:Cornell University Press
844:Appen, Ralf von (2007).
2687:Speech-to-song illusion
2499:Evolutionary musicology
2348:Evolutionary aesthetics
2298:The Aesthetic Dimension
1449:List of music theorists
1327:"Philosophy of Music,"
1001:The Aesthetics of Music
918:. New York: Routledge.
900:. Ithaca & London:
881:Dahlhaus, Carl (1982).
858:Bucknell, Brad (2002).
848:Bielefeld: Transcript.
676:Oxford Handbooks Online
666:The Nineteenth Century.
653:Oxford Handbooks Online
643:The Nineteenth Century.
3036:The World in Six Songs
2979:William Forde Thompson
2735:Musical hallucinations
2278:Avant-Garde and Kitsch
2228:Lectures on Aesthetics
1187:The Music of Our Lives
1172:Die Musik als Ausdruck
1014:Schopenhauer, Arthur.
411:Constructive reception
361:'s work in the 1970s,
205:The Analysis of Beauty
43:
2841:Systematic musicology
2423:Philosophy portal
1319:PhilosophyOfMusic.org
1185:Higgins, Kathleen M.
1136:The Musical Quarterly
368:authentic performance
117:, a music critic and
33:
2647:Music-related memory
2484:Cognitive musicology
2368:Philosophy of design
2248:In Praise of Shadows
2238:The Critic as Artist
1150:Aesthetics and Music
396:aesthetic properties
222:Critique of Judgment
27:Branch of philosophy
3065:Philosophy of music
2934:Max Friedrich Meyer
2826:Philosophy of music
2821:Performance science
2766:Aesthetics of music
2740:Musician's dystonia
2725:Auditory arrhythmia
2612:Melodic expectation
2378:Philosophy of music
2353:Mathematical beauty
1018:. Dover. Volume I,
983:Levinson, Jerrold.
833:Music Therapy Today
829:Music Therapy Today
820:Adorno, Theodor W.
813:Adorno, Theodor W.
543:Philosophy of music
363:analytic philosophy
245:Arthur Schopenhauer
188:musical development
182:, playfulness, and
47:Aesthetics of music
37:listen to symphony
3070:Applied aesthetics
2993:Books and journals
2914:Carol L. Krumhansl
2632:Music and movement
2587:Glissando illusion
2567:Exercise and music
2373:Philosophy of film
2363:Patterns in nature
2333:Applied aesthetics
2308:Why Beauty Matters
2094:Life imitating art
1955:Art for art's sake
1338:2012-02-14 at the
1307:2009-12-29 at the
1141:Gracyk, Theodore.
943:Gracyk, Theodore.
936:Gracyk, Theodore.
929:Gendron, Bernard.
883:Esthetics of Music
838:2009-12-29 at the
664:Andreas Dorschel,
641:Andreas Dorschel,
609:Music and the mind
571:. Merriam-Webster.
44:
18:Musical aesthetics
3052:
3051:
2801:Musical acoustics
2677:Sharawadji effect
2657:Musical semantics
2627:Music and emotion
2527:Auditory illusion
2431:
2430:
2383:Psychology of art
2258:Art as Experience
1455:
1454:
1235:Lippman, Edward.
1230:978-0-19-825083-8
1180:978-3-7024-6860-6
1106:Davies, Stephen.
1099:Davies, Stephen.
1078:Bowman, Wayne D.
1009:978-0-19-816727-3
907:Davies, Stephen.
896:Davies, Stephen.
508:Music and emotion
370:of music (1995).
318:Albert Schweitzer
241:E. T. A. Hoffmann
176:temporal dynamics
16:(Redirected from
3077:
3001:Music Perception
2944:Richard Parncutt
2929:Leonard B. Meyer
2879:Jane W. Davidson
2864:Jamshed Bharucha
2642:Music preference
2537:Background music
2532:Auditory imagery
2465:Music psychology
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1242:Meyer, Leonard.
1148:Hamilton, Andy.
1113:Fubini, Enrico.
1085:Bucknell, Brad.
999:Scruton, Roger.
950:Kant, Immanuel.
801:
800:
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788:. Archived from
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461:The Culture Club
384:Jerrold Levinson
344:, respectively.
297:Andreas Dorschel
208:. He considered
99:Jerrold Levinson
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2836:Sociomusicology
2791:Music education
2776:Ethnomusicology
2754:
2706:
2702:Tritone paradox
2667:Octave illusion
2652:Musical gesture
2617:Melodic fission
2607:LippsâMeyer law
2577:Franssen effect
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2504:Psychoacoustics
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1340:Wayback Machine
1309:Wayback Machine
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1092:Budd, Malcolm.
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1060:Further reading
840:Wayback Machine
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260:Robert Schumann
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2969:John Sloboda
2949:Oliver Sacks
2919:Fred Lerdahl
2771:Bioacoustics
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2697:Tonal memory
2682:Shepard tone
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1732:Coomaraswamy
1650:Philosophers
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1569:Aestheticism
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155:The Republic
154:
153:suggests in
149:philosopher
132:
119:musicologist
88:
73:
67:
46:
45:
2974:Carl Stumpf
2904:David Huron
2856:Researchers
2562:Entrainment
2192:(c. 335 BC)
2182:(c. 390 BC)
2161:Work of art
2114:Picturesque
1970:Avant-garde
1927:Winckelmann
1802:Kierkegaard
1727:Collingwood
1697:Baudrillard
1624:Romanticism
1594:Historicism
1528:Mathematics
1413:Mathematics
1402:Composition
674:access via
651:access via
498:Culturology
477:low culture
450:Bing Crosby
425:Simon Frith
351:False needs
308:A group of
273:Flegeljahre
236:romanticism
172:emotiveness
3059:Categories
2959:Max Schoen
2909:Nina Kraus
2869:Lola Cuddy
2806:Musicology
2131:Recreation
2109:Perception
2002:Creativity
1702:Baumgarten
1692:Baudelaire
1574:Classicism
1489:Aesthetics
1433:Set theory
1428:Psychology
1423:Philosophy
1418:Musicology
1407:Definition
1387:Aesthetics
1321:edited by
808:References
796:2012-01-30
730:: 196â205.
620:0345383184
513:Musicology
493:Aesthetics
459:published
388:Peter Kivy
359:Peter Kivy
314:Ezra Pound
186:(see also
143:psychology
128:tone poems
95:Peter Kivy
91:philosophy
80:Baumgarten
75:jouissance
51:philosophy
2712:Disorders
2136:Reverence
2042:Eroticism
2012:Depiction
1985:Masculine
1887:Santayana
1847:Nietzsche
1792:Hutcheson
1782:Heidegger
1767:Greenberg
1722:Coleridge
1687:Balthasar
1672:Aristotle
1634:Theosophy
1629:Symbolism
1604:Modernism
1589:Formalism
549:Footnotes
465:modernism
420:Criticism
338:art music
310:modernist
278:formalism
268:Jean Paul
264:Papillons
180:resonance
168:hypnotism
139:intellect
39:orchestra
2411:Category
2343:Axiology
2212:(c. 500)
2202:(c. 100)
2077:Judgment
2032:Emotions
2027:Elegance
2007:Cuteness
1980:Feminine
1943:Concepts
1912:Tanizaki
1892:Schiller
1877:Richards
1867:Rancière
1837:Maritain
1772:Hanslick
1712:Benjamin
1584:Feminism
1553:Theology
1533:Medieval
1523:Japanese
1518:Internet
1392:Analysis
1336:Archived
1305:Archived
1143:On Music
836:Archived
745:: 20â35.
629:29403072
605:(1993).
487:See also
219:, whose
160:lyricism
135:emotions
2781:Hearing
2552:Earworm
2406:Outline
2321:Related
2188:Poetics
2156:Tragedy
2146:Sublime
2119:Quality
2104:Mimesis
2062:Harmony
2047:Fashion
2022:Ecstasy
2017:Disgust
1933:more...
1902:Scruton
1827:Lyotard
1762:Goodman
1742:Deleuze
1677:Aquinas
1667:Alberti
1640:more...
1619:Realism
1599:Marxism
1579:Fascism
1562:Schools
1548:Science
1503:Ancient
1397:Aspects
990:Plato,
904:, 1994.
442:Marxist
164:harmony
69:plaisir
2720:Amusia
2514:Topics
2312:(2009)
2302:(1977)
2292:(1946)
2282:(1939)
2272:(1935)
2262:(1934)
2252:(1933)
2242:(1891)
2232:(1835)
2222:(1757)
2089:Kitsch
2067:Humour
1997:Comedy
1975:Beauty
1917:Vasari
1907:Tagore
1882:Ruskin
1822:LukĂĄcs
1812:Langer
1757:Goethe
1682:BalĂĄzs
1662:Adorno
1543:Nature
1508:Africa
1438:Tuning
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432:kitsch
141:, and
105:, and
59:beauty
2472:Areas
2401:Index
2170:Works
2151:Taste
2141:Style
1922:Wilde
1862:Plato
1857:Pater
1817:Lipps
1777:Hegel
1747:Dewey
1737:Danto
1717:Burke
1538:Music
1513:India
1496:Areas
1201:Magic
1039:Sonus
471:, or
210:dance
184:color
151:Plato
63:taste
2125:Rasa
2083:Kama
2057:Gaze
1992:Camp
1872:Rand
1807:Klee
1797:Kant
1787:Hume
1707:Bell
1257:ISBN
1226:ISBN
1176:ISBN
1161:ISBN
1028:ISBN
1020:ISBN
1005:ISBN
967:ISBN
920:ISBN
872:ISBN
850:ISBN
762:ISBN
707:ISBN
625:OCLC
615:ISBN
386:and
340:and
322:Bach
84:Kant
72:and
61:and
2052:Fun
1832:Man
1752:Fry
469:art
448:to
280:of
247:'s
190:).
55:art
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