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416:(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."
119:, 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.
441:. 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).
423:), 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.
289:
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."
284:, 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,
433:, 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
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305:) 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
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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
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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,
54:
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
246:
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.
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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,
214:
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
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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
280:, 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
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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.
114:
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
324:
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
337:
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.
387:
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."
227:
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.
313:. 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.
204:
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.
1033:
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,
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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
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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.
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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.
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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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1163:, ed. Elisabeth Kappel and Andreas Dorschel. Vienna â London â New York: Universal Edition, 2010 (Studien zur Wertungsforschung 50).
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383:, Zangwill introduces his realist position by stating, "By 'realism' about musical experience, I mean a view that foregrounds the
102:, 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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Seashore, Carl. In Search of Beauty in Music; A Scientific
Approach to Musical Aesthetics. New York: Ronald Press Co., 1947.
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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.
95:
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265:. 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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Holland, Eugene W. (2004). "Studies in
Applied Nomadology: Jazz Improvisation and Post-Capitalist Markets".
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1973:
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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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947:. 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
261:
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http://oxfordbibliographiesonline.com/view/document/obo-9780199757824/obo-9780199757824-0061.xml
903:
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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1171:. (Contra Hanslick, Hausegger makes expression the central issue of an aesthetics of music.)
511:
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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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82:. 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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23:
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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."
813:. Anne G. Mitchell and Wesley V. Blomster (trans.) New York: Seabury Press, 1973.
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1156:. (Classic statement of an aesthetics of music based on the notion of 'form'.)
984:
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Holland, Eugene W. (2008). "Jazz Improvisation: Music of the People-to-Come".
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83:
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67:) 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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127:
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hearing music, and thus to questions about its beauty and human enjoyment (
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2015:
1995:
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661:
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
123:
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309:, who argued against the alleged 'purity' of music in a classic work on
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2035:
2005:
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1123:
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
806:. 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
430:
160:
152:
57:
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1985:
1963:
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47:
1307:
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Looking for the 'Harp' Quartet: An Investigation into Musical Beauty
678:
Music and Aesthetic Reality: Formalism and the Limits of Description
571:
http://www.cengage.com/music/book_content/049557273X_wrightSimms.pdf
381:
Music and Aesthetic Reality: Formalism and the Limits of Description
2422:
1271:
Zangwill, Nick. "Against Emotion: Hanslick Was Right About Music,"
1026:
Sorce Keller, Marcello. âOriginality, Authenticity and Copyrightâ,
472:, was published five years earlier by philosopher Bernard Gendron.
2620:
1850:
198:
139:
976:. Ithaca: Cornell UP, 1990; 2nd edition, Oxford: Oxford UP, 2011.
2071:
2045:
983:. Translated by Benjamin Jowett. Oxford University Press: 1894.
952:
Authenticities: Philosophical Reflections on Musical Performance
2426:
1450:
1337:
1333:
2040:
1183:
Handbook of Music and Emotion: Theory, Research, Applications.
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Appen, Ralf von (2007). "On the aesthetics of popular music."
457:
43:
1446:
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Translated by Michael Hatwell. London: Macmillan Press, 1990.
657:
In: TomĂĄs McAuley, Nanette Nielsen, Jerrold Levinson (eds.),
634:
In: TomĂĄs McAuley, Nanette Nielsen, Jerrold Levinson (eds.),
1286:
The Aesthetics of Popular Music (on-line encyclopedia entry)
134:; it can assuage our loneliness or incite our passions. The
1097:
Musical Works and Performances: A Philosophical Exploration
898:
Musical Works and Performances: A Philosophical Exploration
943:
Volume 5, Berlin: Walter de Gruyter, 1902â. Translated as
732:
Deleuze and Music, Ian Buchanan & Marcel Swiboda, Eds.
1134:. Thinking In Action Series. New York: Routledge, 2013.
1291:"On the aesthetics of popular music" by Ralf von Appen
301:
writers in the early 20th century (including the poet
2257:
The Work of Art in the Age of Mechanical Reproduction
1112:
Gracyk, Theodore. "The Aesthetics of Popular Music,"
1071:. New York and Oxford: Oxford University Press, 1998.
379:. In his 2014 book on the aesthetics of music titled
1303:
The Philosophy of Music (on-line encyclopedia entry)
941:
Kritik der Urteilskraft, Kants gesammelte Schriften,
659:
The Oxford Handbook of Western Music and Philosophy.
636:
The Oxford Handbook of Western Music and Philosophy.
2981:
2843:
2747:
2699:
2501:
2460:
2309:
2158:
1931:
1638:
1550:
1484:
1146:
Vom Musikalisch-SchĂśnen. Tr. The Beautiful In Music
1141:
New York: Continuum International Publishing, 2001.
1178:. Philadelphia, PA: Temple University Press, 1991.
1083:Music and the Emotions: The Philosophical Theories
595:
929:. Ann Arbor: University of Michigan Press, 2007.
1256:What Makes Music European. Looking Beyond Sound
835:Der Wert der Musik. Zur Ăsthetik des Populären.
969:. Philadelphia: Temple University Press, 1989.
2438:
1462:
1349:
1092:, Ithaca, NY: Cornell University Press, 1994.
922:. Chicago: University of Chicago Press, 2002.
8:
2187:The Literary Mind and the Carving of Dragons
468:. A more scholarly study of the same topic,
1085:. London: Routledge & Kegan Paul. 1985.
1078:New York: Cambridge University Press, 2001.
147:concerning the aesthetics of music include
2445:
2431:
2423:
1469:
1455:
1447:
1356:
1342:
1334:
954:. Ithaca: Cornell University Press, 1995.
936:. Durham, NC: Duke University Press, 1996.
367:In the 21st century, philosophers such as
273:, setting off the "War of the Romantics."
1213:. Oxford: Oxford University Press, 2001.
1076:Literary Modernism and Musical Aesthetics
849:Literary Modernism and Musical Aesthetics
775:by Craig Schuftan | Illiterarty.com"
1235:Chicago: Chicago University Press, 1956.
1181:Juslin, Patrik N., and John A. Sloboda.
1099:. Oxford: Oxford University Press, 2001.
18:
2681:Temporal dynamics of music and language
1226:A History of Western Musical Aesthetics
1114:The Internet Encyclopedia of Philosophy
1037:, XXVI (2007), no. 2-3, pp. 91â122
934:Rhythm and Noise: An Aesthetics of Rock
543:
1268:. University of Rochester Press, 2011.
1185:Oxford: Oxford University Press, 2010.
1228:. University of Nebraska Press, 1992.
1118:http://www.iep.utm.edu/m/music-po.htm
1040:Stravinsky, Igor, with Robert Craft,
492:List of aesthetic principles of music
7:
1258:. Latham, NJ: Scarecrow Press, 2011.
1194:Philosophy of Music Education Review
1030:, VII (2007), no. 2, pp. 77â85.
1005:The World as Will and Representation
905:Bad Music: The Music We Love to Hate
444:In 2007 musicologist and journalist
239:The World as Will and Representation
1211:New Essays on Musical Understanding
1069:Philosophical Perspectives on Music
749:. SUNY series in Integral Theory.
694:. SUNY series in Integral Theory.
78:Aesthetics is a sub-discipline of
14:
2626:Music in psychological operations
1035:Journal of Musicological Research
992:. Oxford University Press, 1997.
945:Critique of the Power of Judgment
71:in the 18th century, followed by
2571:Generative theory of tonal music
2405:
1148:. Bobbs-Merrill Co (June 1957).
900:. Oxford: Clarendon Press, 2001.
223:In the 19th century, the era of
2581:Hedonic music consumption model
2478:Cognitive neuroscience of music
1127:76 no. 4 (Winter 1992): 526â42.
452:, a book drawing links between
1273:British. Journal of Aesthetics
1203:39 no. 3 (Fall 2005): 104â116.
1201:Journal of Aesthetic Education
1196:13 no. 1 (Spring 2005): 77â94.
1188:Kertz-Welzel, Alexandra. "The
1144:Hanslick, Eduard (1885/1957).
1090:Musical Meaning and Expression
887:Musical Meaning and Expression
602:. New York: Ballantine Books.
557:Merriam-Webster.com Dictionary
316:Among 20th-century composers,
42:that deals with the nature of
1:
3018:Psychology of Music (journal)
2561:Eye movement in music reading
1233:Emotion and Meaning in Music.
820:Vol. VIII (1), 5â25. Online:
2586:Illusory continuity of tones
2317:Aestheticization of politics
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1058:. New York, NY: Haven, 1987.
1044:. New York: Doubleday, 1962.
1042:Expositions and Developments
3032:This Is Your Brain on Music
3011:Music, Thought, and Feeling
2997:Musicae Scientiae (journal)
1104:History of Music Aesthetics
974:Music, Art, and Metaphysics
251:stated that his piano work
98:. However, many musicians,
3075:
2805:Neuronal encoding of sound
2775:Melodic intonation therapy
2483:Culture in music cognition
1159:Hausegger, Friedrich von.
880:Cambridge University Press
857:Cambridge University Press
811:Philosophy of Modern Music
745:Sarath, Edward W. (2014).
690:Sarath, Edward W. (2014).
2531:Consonance and dissonance
2385:
1435:
1371:
276:This fight, according to
2820:Psychoanalysis and music
2800:Neurologic music therapy
2734:Music-specific disorders
2546:Embodied music cognition
2536:Deutsch's scale illusion
1275:, 44 (Jan. 2004), 29â43.
1254:Sorce Keller, Marcello.
1054:Alperson, Philip (ed.),
891:Cornell University Press
833:Appen, Ralf von (2007).
2676:Speech-to-song illusion
2488:Evolutionary musicology
2337:Evolutionary aesthetics
2287:The Aesthetic Dimension
1438:List of music theorists
1316:"Philosophy of Music,"
990:The Aesthetics of Music
907:. New York: Routledge.
889:. Ithaca & London:
870:Dahlhaus, Carl (1982).
847:Bucknell, Brad (2002).
837:Bielefeld: Transcript.
665:Oxford Handbooks Online
655:The Nineteenth Century.
642:Oxford Handbooks Online
632:The Nineteenth Century.
3025:The World in Six Songs
2968:William Forde Thompson
2724:Musical hallucinations
2267:Avant-Garde and Kitsch
2217:Lectures on Aesthetics
1176:The Music of Our Lives
1161:Die Musik als Ausdruck
1003:Schopenhauer, Arthur.
400:Constructive reception
350:'s work in the 1970s,
194:The Analysis of Beauty
32:
2830:Systematic musicology
2412:Philosophy portal
1308:PhilosophyOfMusic.org
1174:Higgins, Kathleen M.
1125:The Musical Quarterly
357:authentic performance
106:, a music critic and
22:
2636:Music-related memory
2473:Cognitive musicology
2357:Philosophy of design
2237:In Praise of Shadows
2227:The Critic as Artist
1139:Aesthetics and Music
385:aesthetic properties
211:Critique of Judgment
16:Branch of philosophy
3054:Philosophy of music
2923:Max Friedrich Meyer
2815:Philosophy of music
2810:Performance science
2755:Aesthetics of music
2729:Musician's dystonia
2714:Auditory arrhythmia
2601:Melodic expectation
2367:Philosophy of music
2342:Mathematical beauty
1007:. Dover. Volume I,
972:Levinson, Jerrold.
822:Music Therapy Today
818:Music Therapy Today
809:Adorno, Theodor W.
802:Adorno, Theodor W.
532:Philosophy of music
352:analytic philosophy
234:Arthur Schopenhauer
177:musical development
171:, playfulness, and
36:Aesthetics of music
26:listen to symphony
3059:Applied aesthetics
2982:Books and journals
2903:Carol L. Krumhansl
2621:Music and movement
2576:Glissando illusion
2556:Exercise and music
2362:Philosophy of film
2352:Patterns in nature
2322:Applied aesthetics
2297:Why Beauty Matters
2083:Life imitating art
1944:Art for art's sake
1327:2012-02-14 at the
1296:2009-12-29 at the
1130:Gracyk, Theodore.
932:Gracyk, Theodore.
925:Gracyk, Theodore.
918:Gendron, Bernard.
872:Esthetics of Music
827:2009-12-29 at the
653:Andreas Dorschel,
630:Andreas Dorschel,
598:Music and the mind
560:. Merriam-Webster.
33:
3041:
3040:
2790:Musical acoustics
2666:Sharawadji effect
2646:Musical semantics
2616:Music and emotion
2516:Auditory illusion
2420:
2419:
2372:Psychology of art
2247:Art as Experience
1444:
1443:
1224:Lippman, Edward.
1219:978-0-19-825083-8
1169:978-3-7024-6860-6
1095:Davies, Stephen.
1088:Davies, Stephen.
1067:Bowman, Wayne D.
998:978-0-19-816727-3
896:Davies, Stephen.
885:Davies, Stephen.
497:Music and emotion
359:of music (1995).
307:Albert Schweitzer
230:E. T. A. Hoffmann
165:temporal dynamics
3066:
2990:Music Perception
2933:Richard Parncutt
2918:Leonard B. Meyer
2868:Jane W. Davidson
2853:Jamshed Bharucha
2631:Music preference
2526:Background music
2521:Auditory imagery
2454:Music psychology
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1231:Meyer, Leonard.
1137:Hamilton, Andy.
1102:Fubini, Enrico.
1074:Bucknell, Brad.
988:Scruton, Roger.
939:Kant, Immanuel.
790:
789:
787:
786:
777:. Archived from
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680:. Page 20. 2014.
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512:Music psychology
450:The Culture Club
373:Jerrold Levinson
333:, respectively.
286:Andreas Dorschel
197:. He considered
88:Jerrold Levinson
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2863:Robert Cutietta
2839:
2825:Sociomusicology
2780:Music education
2765:Ethnomusicology
2743:
2695:
2691:Tritone paradox
2656:Octave illusion
2641:Musical gesture
2606:Melodic fission
2596:LippsâMeyer law
2566:Franssen effect
2497:
2493:Psychoacoustics
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1329:Wayback Machine
1298:Wayback Machine
1282:
1262:Thakar, Markand
1081:Budd, Malcolm.
1051:
1049:Further reading
829:Wayback Machine
804:Essays on Music
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318:Igor Stravinsky
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271:Eduard Hanslick
249:Robert Schumann
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104:Eduard Hanslick
38:is a branch of
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2938:Oliver Sacks
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2760:Bioacoustics
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2671:Shepard tone
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1721:Coomaraswamy
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144:The Republic
143:
142:suggests in
138:philosopher
121:
108:musicologist
77:
62:
56:
35:
34:
2963:Carl Stumpf
2893:David Huron
2845:Researchers
2551:Entrainment
2181:(c. 335 BC)
2171:(c. 390 BC)
2150:Work of art
2103:Picturesque
1959:Avant-garde
1916:Winckelmann
1791:Kierkegaard
1716:Collingwood
1686:Baudrillard
1613:Romanticism
1583:Historicism
1517:Mathematics
1402:Mathematics
1391:Composition
663:access via
640:access via
487:Culturology
466:low culture
439:Bing Crosby
414:Simon Frith
340:False needs
297:A group of
262:Flegeljahre
225:romanticism
161:emotiveness
3048:Categories
2948:Max Schoen
2898:Nina Kraus
2858:Lola Cuddy
2795:Musicology
2120:Recreation
2098:Perception
1991:Creativity
1691:Baumgarten
1681:Baudelaire
1563:Classicism
1478:Aesthetics
1422:Set theory
1417:Psychology
1412:Philosophy
1407:Musicology
1396:Definition
1376:Aesthetics
1310:edited by
797:References
785:2012-01-30
719:: 196â205.
609:0345383184
502:Musicology
482:Aesthetics
448:published
377:Peter Kivy
348:Peter Kivy
303:Ezra Pound
175:(see also
132:psychology
117:tone poems
84:Peter Kivy
80:philosophy
69:Baumgarten
64:jouissance
40:philosophy
2701:Disorders
2125:Reverence
2031:Eroticism
2001:Depiction
1974:Masculine
1876:Santayana
1836:Nietzsche
1781:Hutcheson
1771:Heidegger
1756:Greenberg
1711:Coleridge
1676:Balthasar
1661:Aristotle
1623:Theosophy
1618:Symbolism
1593:Modernism
1578:Formalism
538:Footnotes
454:modernism
409:Criticism
327:art music
299:modernist
267:formalism
257:Jean Paul
253:Papillons
169:resonance
157:hypnotism
128:intellect
28:orchestra
2400:Category
2332:Axiology
2201:(c. 500)
2191:(c. 100)
2066:Judgment
2021:Emotions
2016:Elegance
1996:Cuteness
1969:Feminine
1932:Concepts
1901:Tanizaki
1881:Schiller
1866:Richards
1856:Rancière
1826:Maritain
1761:Hanslick
1701:Benjamin
1573:Feminism
1542:Theology
1522:Medieval
1512:Japanese
1507:Internet
1381:Analysis
1325:Archived
1294:Archived
1132:On Music
825:Archived
734:: 20â35.
618:29403072
594:(1993).
476:See also
208:, whose
149:lyricism
124:emotions
2770:Hearing
2541:Earworm
2395:Outline
2310:Related
2177:Poetics
2145:Tragedy
2135:Sublime
2108:Quality
2093:Mimesis
2051:Harmony
2036:Fashion
2011:Ecstasy
2006:Disgust
1922:more...
1891:Scruton
1816:Lyotard
1751:Goodman
1731:Deleuze
1666:Aquinas
1656:Alberti
1629:more...
1608:Realism
1588:Marxism
1568:Fascism
1551:Schools
1537:Science
1492:Ancient
1386:Aspects
979:Plato,
893:, 1994.
431:Marxist
153:harmony
58:plaisir
2709:Amusia
2503:Topics
2301:(2009)
2291:(1977)
2281:(1946)
2271:(1939)
2261:(1935)
2251:(1934)
2241:(1933)
2231:(1891)
2221:(1835)
2211:(1757)
2078:Kitsch
2056:Humour
1986:Comedy
1964:Beauty
1906:Vasari
1896:Tagore
1871:Ruskin
1811:LukĂĄcs
1801:Langer
1746:Goethe
1671:BalĂĄzs
1651:Adorno
1532:Nature
1497:Africa
1427:Tuning
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421:kitsch
130:, and
94:, and
48:beauty
2461:Areas
2390:Index
2159:Works
2140:Taste
2130:Style
1911:Wilde
1851:Plato
1846:Pater
1806:Lipps
1766:Hegel
1736:Dewey
1726:Danto
1706:Burke
1527:Music
1502:India
1485:Areas
1190:Magic
1028:Sonus
460:, or
199:dance
173:color
140:Plato
52:taste
2114:Rasa
2072:Kama
2046:Gaze
1981:Camp
1861:Rand
1796:Klee
1786:Kant
1776:Hume
1696:Bell
1246:ISBN
1215:ISBN
1165:ISBN
1150:ISBN
1017:ISBN
1009:ISBN
994:ISBN
956:ISBN
909:ISBN
861:ISBN
839:ISBN
751:ISBN
696:ISBN
614:OCLC
604:ISBN
375:and
329:and
311:Bach
73:Kant
61:and
50:and
2041:Fun
1821:Man
1741:Fry
458:art
437:to
269:of
236:'s
179:).
44:art
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