標題: Titlebook: Of Essence and Context; Between Music and Ph Rūta Stanevi?iūt?,Nick Zangwill,Rima Povilionien? Book 2019 Springer Nature Switzerland AG 201 [打印本頁] 作者: 二足動物 時間: 2025-3-21 17:29
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作者: Exposure 時間: 2025-3-21 21:26 作者: 關節(jié)炎 時間: 2025-3-22 01:52
Essence Facilitating Plurality: Theorizing Art with Schellingtemporary debates. Whereas idealism and essentialism are often associated with static and unduly mentalist definitions of art, Schelling offers a complex framework which can accommodate for plurality and development. The synthetic power of the imagination to constitute the unity of the artwork is hi作者: Militia 時間: 2025-3-22 07:31
Aristotle Meets Schumann: Essence and Geistrealizable, guide his answers. They support his concept of “psuchē”, an essence that shapes, animates, explains and unifies a living being. Schumann’s notion of “Geist” serves likewise for a musical work and echoes Aristotle’s “psuchē”. Neither resembles essentialism as usually understood. They can 作者: 加劇 時間: 2025-3-22 10:28 作者: Verify 時間: 2025-3-22 13:00 作者: 空中 時間: 2025-3-22 19:02
Deleuze, Ruyer, and Musical Morphogenesisural phenomena, such as birdsongs. Following Jacob von Uexküll, Deleuze and Guattari argue that a refrain is an assemblage connecting a biological being and its milieu, and the appropriation of this milieu by specific practices of deterritorialization. Deleuze and Guattari also refer to Raymond Ruye作者: Visual-Acuity 時間: 2025-3-22 23:25 作者: 愚蠢人 時間: 2025-3-23 02:42 作者: 奴才 時間: 2025-3-23 09:30 作者: 強壯 時間: 2025-3-23 13:36
as the Source of Beauty in Musicction of seemingly opposite fields. The Latin . generally covers the different subjects of arithmetic, geometry, astronomy and music; meaning not only ‘a(chǎn)rt’, but also ‘science’; not only ‘skill’ and ‘craft’, but ‘knowledge’ as well. Over the course of different epochs, music theory has been classifi作者: 巡回 時間: 2025-3-23 14:32
Some Remarks on Verbal Models in Musicication which is inherent in it. On the other hand, the structures of this strictly conditional musical language often have something in common with models of verbal language. We can see here the formal (syntactical) analogies without lexical contents. We propose to present the results of observatio作者: 慢慢啃 時間: 2025-3-23 18:18
On the Role of Intonation in Music and Communication Practicesentirely mediated by verbal language and its richness surpasses the capacity of verbal expression. Considering intonation as a crucial means of communication and interaction, it is assumed that the need for communication could lie in the origins of music. Music permits us to put into practice variou作者: 一再煩擾 時間: 2025-3-24 01:12 作者: 禁令 時間: 2025-3-24 03:21
Where Is the Essence of a Musical Work?he communicative path of a musical performance. The double ontological status of music as both cognitive activity and observable object makes any transition from cognition to object a reduction from thick to thin entity, and any transition from notated/sounded work to interpretation/musical experien作者: 向外才掩飾 時間: 2025-3-24 06:50
Performance as Understanding in Action: Re-thinking the Concept of Musical Experiencemary ways in which we describe musical experiences in philosophical and musicological discourse are analytical and formal. My own view is that pure, instrumental music is intended to resonate with the inner life of an interpreter (performer, critic, and listener). I call my view ‘moderate aesthetic 作者: intangibility 時間: 2025-3-24 13:08 作者: osculate 時間: 2025-3-24 15:08
Piotr Podlipniakave of the system to which it refers. A problem may thus find itself defined as a badly interpreted output, or as a faulty output of a faulty output device, or as a faulty output due to a malfunction in an otherwise faultless system, or as a correct but undesired output from a faultless and thus und作者: Inexorable 時間: 2025-3-24 21:01
Tijana Popovi? Mladjenovi?ave of the system to which it refers. A problem may thus find itself defined as a badly interpreted output, or as a faulty output of a faulty output device, or as a faulty output due to a malfunction in an otherwise faultless system, or as a correct but undesired output from a faultless and thus und作者: Intervention 時間: 2025-3-25 00:47
Nicolas Royer-Artusoave of the system to which it refers. A problem may thus find itself defined as a badly interpreted output, or as a faulty output of a faulty output device, or as a faulty output due to a malfunction in an otherwise faultless system, or as a correct but undesired output from a faultless and thus und作者: STALL 時間: 2025-3-25 03:53
Rima Povilionien?ave of the system to which it refers. A problem may thus find itself defined as a badly interpreted output, or as a faulty output of a faulty output device, or as a faulty output due to a malfunction in an otherwise faultless system, or as a correct but undesired output from a faultless and thus und作者: 小樣他閑聊 時間: 2025-3-25 08:23 作者: 案發(fā)地點 時間: 2025-3-25 11:43
Diana Baiginaave of the system to which it refers. A problem may thus find itself defined as a badly interpreted output, or as a faulty output of a faulty output device, or as a faulty output due to a malfunction in an otherwise faultless system, or as a correct but undesired output from a faultless and thus und作者: capsaicin 時間: 2025-3-25 19:04 作者: meretricious 時間: 2025-3-25 23:04 作者: generic 時間: 2025-3-26 03:25
Per Dahlave of the system to which it refers. A problem may thus find itself defined as a badly interpreted output, or as a faulty output of a faulty output device, or as a faulty output due to a malfunction in an otherwise faultless system, or as a correct but undesired output from a faultless and thus und作者: 胡言亂語 時間: 2025-3-26 05:30 作者: Pde5-Inhibitors 時間: 2025-3-26 11:30
Numanities - Arts and Humanities in Progresshttp://image.papertrans.cn/o/image/700629.jpg作者: 膽大 時間: 2025-3-26 14:38 作者: FILLY 時間: 2025-3-26 17:02 作者: deviate 時間: 2025-3-27 00:21
978-3-030-14473-9Springer Nature Switzerland AG 2019作者: COKE 時間: 2025-3-27 02:02
Of Essence and Context978-3-030-14471-5Series ISSN 2510-442X Series E-ISSN 2510-4438 作者: 假裝是你 時間: 2025-3-27 07:47 作者: 同音 時間: 2025-3-27 10:25 作者: 淡紫色花 時間: 2025-3-27 16:13
The Biological Constraints on Musical Structure as the Foundations of Musical Essence are music specific phenomena. It is therefore proposed that musical essence is based on a perceptive bias that is the result of the evolution of . and that musical essence lies in the organization of the human brain.作者: 出血 時間: 2025-3-27 18:13 作者: encomiast 時間: 2025-3-27 23:58 作者: 消散 時間: 2025-3-28 03:29
On the Role of Intonation in Music and Communication Practicess modes of social interaction. It is seen as a unique type of social communication, through which information about the psycho-emotional life of people is transmitted more clearly and holistically than through verbal communication.作者: BOOR 時間: 2025-3-28 08:07 作者: itinerary 時間: 2025-3-28 12:44
as the Source of Beauty in Musicnt of quadrivium phenomena, the commonalities between musical and mathematical terminology and actions as well as the systematization of constructive and semantic composing of music in the 20th–21st centuries.作者: 粗鄙的人 時間: 2025-3-28 15:40
Essence , Context?e perception and description of music, and the ontological status of musical structure—in all cases framing its formulations as responses to the writing of Nick Zangwill (whose reply will be found in this volume).作者: 搖曳 時間: 2025-3-28 19:14
Essence Facilitating Plurality: Theorizing Art with Schellinglex framework which can accommodate for plurality and development. The synthetic power of the imagination to constitute the unity of the artwork is highlighted, but a theory of reciprocity between ideality and reality simultaneously accentuate art’s historicity, as well as it social significance.作者: aphasia 時間: 2025-3-29 00:54
Aristotle Meets Schumann: Essence and Geist notion of “Geist” serves likewise for a musical work and echoes Aristotle’s “psuchē”. Neither resembles essentialism as usually understood. They can illuminate both the aesthetic theory of Schumann’s time and today’s musicological attempts to explain what it is for a work to be one work and to be the work that it is.作者: 有權 時間: 2025-3-29 05:47 作者: 迅速成長 時間: 2025-3-29 07:35 作者: Dealing 時間: 2025-3-29 14:19 作者: 植物群 時間: 2025-3-29 16:25
2510-442X , linguistics, communication theory, phenomenology, and cogn.This book provides a new approach to the intersections between music and philosophy. It features articles that rethink the concepts of musical work and performance from ontological and epistemological perspectives and discuss issues of per作者: lipids 時間: 2025-3-29 20:38
Music, Essence and Contextg about essence gets something wrong about the cultural dimensions of human life. In reply I show how essence is essential for understanding human action, and thus also for understanding cultural human action.作者: 起草 時間: 2025-3-29 23:56
Hsi Kang’s Reflection on the Essence of Music: “,” Kang’s article “Sheng Wu Ai Le Lun”. This study aims to investigate the significance of “.”; hence, the author did not translate and define the term at the beginning of the article.) could only produce either a sense of agitation or relaxation, and could not produce sad or happy emotions; nor could作者: aphasia 時間: 2025-3-30 04:44 作者: Conquest 時間: 2025-3-30 10:11 作者: Forage飼料 時間: 2025-3-30 13:51
Audron? ?ukauskait? of socio-cultural change the future will . be like the past. Moreover, with a future not clearly perceived, we do not know how to act with only one certainty left: if we don’t act ourselves, we shall be acted upon. Thus, if we wish to be subjects, rather than objects, what we see now, that is, our 作者: 繼承人 時間: 2025-3-30 16:54
Piotr Podlipniak of socio-cultural change the future will . be like the past. Moreover, with a future not clearly perceived, we do not know how to act with only one certainty left: if we don’t act ourselves, we shall be acted upon. Thus, if we wish to be subjects, rather than objects, what we see now, that is, our 作者: inculpate 時間: 2025-3-30 22:24
Tijana Popovi? Mladjenovi? of socio-cultural change the future will . be like the past. Moreover, with a future not clearly perceived, we do not know how to act with only one certainty left: if we don’t act ourselves, we shall be acted upon. Thus, if we wish to be subjects, rather than objects, what we see now, that is, our
