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PHILOSOPHY of MUSIC & MUSIC AESTHETICS Adorno, Theodor A BASIC BIBLIOGRAPHY: PHILOSOPHY OF MUSIC & MUSIC AESTHETICS Adorno, Theodor. (1984). Aesthetic theory. Trans. C. Lenhardt. London: Routledge. ___________. (1973). Philosophy of modern music. Trans. A.G. Mitchell and W.V. Blomster. NY: Seabury Press. ___________. (1999). Sound Figures. Trans. R. Livingstone. Stanford, CA: Stanford University Press. Allan, Tuzyline Jita. (1995). Womanist and feminist aesthetics: A comparative review. Ohio Univ. Press. Alperson, Philip A., Ed. (1987). What is music? An introduction to the philosophy of music. NY: Haven Publications. Attali, Jacques. (1985). Noise: The political economy of music. Trans. B. Massumi. Minneapolis,: University of Minnesota Press. Augustine. On music. Trans. R. Taliaferro. In Writings of St. Augustine, ed. L. Schopp. NY: CIMA Publishing, 1947. Aristotle. On Poetics. ________. Politics. Beardsley, Monroe. (1966). Aesthetics from classical Greece to the present: A short history. Tusculoosa, AL: University of Alabama Press. Battersby, Christine. (1989). Gender and genius. Towards a feminist aesthetics. London: The Women's Press. Bell, Clive. (1981). Art. NY: Chatto & Windus. Blacking, John. (1973). How musical is man? Seattle: University of Washington Press. Berleant, Arnold. (1991). Art and engagement. Philadelphia: Temple University Press. Bowman, Wayne. (1998). Philosophical perspectives on music. New York: Oxford University Press. Boethius. Fundamentals of music. Trans. C.M. Bower, Ed. C.V. Palisca. New Haven, CT: Yale University Press, 1989. Brett, Philip, Elizabeth Wood, and Gary C. Thomas, eds. Queering the Pitch: The New Gay and Lesbian Musicology, 1994. Budd, Malcolm. (1985). Music and the emotions. London: Routledge and Kegan Paul. Burrows, David L. (1990). Sound, speech, and music. Amherst, MA: University of Massachusetts Press. Cage, John. (1961). Silence. Cambridge, MA: Harvard University Press. Carroll, Noel. (2001). Beyond aesthetics: Philosophical essays. Cambridge, UK: Cambridge University Press. Chua, D. K. (1999). Absolute music and the construction of meaning. NY: Cambridge University Press. Citron, Marcia J. (1993). Gender and the musical canon. Cambridge, UK: Cambridge University Press. Clayton, Martin, Trevor Herbert, and Richard Middleton, eds. The Cultural Study of Music: A Critical Introduction. London: Routledge, 2003. Clifton, Thomas. (1983). Music as heard: A study in applied phenomenology. New Haven, CT: Yale University Press. Cook, Nicholas. (1998). Music: A very short introduction. London: Oxford University Press. ___________. (1990). Music, imagination, and culture. Oxford, UK: Clarendon Press. Cook, Nicholas and Everest, Mark (eds).(1999). Rethinking Music. Oxford, UK: Oxford University Press. Cook, Susan C. and Tsou , Judy S. (1994). Ceclia reclaimed: Feminist perspectives on gender and music. Chicago: University of Illinois Press. Cooke, Deryck. (1959). The language of music. London: Oxford University Press. Coken, Wilson. (1972). Music and meaning: A theoretical introduction to musical aesthetics. NY: Free Press. Collingwood, R.G. (1938). The principles of art. Oxford, UK: Clarendon Press. Cumming, Naomi. (2000). The sonic self: Musical subjectivity and signification. Bloomington, IN: Indiana University Press. Dallhaus, Carl. (1982). Esthetics of music. Trans W. W. Austin. Cambridge, UK: Cambridge University Press. Danto, Arthur C. (2003). The abuse of beauty: Aesthetics and the concept of art. Chicago: Open Court. _____________.(1986). The philosophical disenfranchisement of art. New York: Columbia University Press. _____________. (1981). The transfiguration of the commonplace: A philosophy of art. Cambridge, MA: Harvard University Press. Davies, Stephen. (1994). Musical meaning and expression. Ithaca, NY: Cornell University Press. Dewey, John. (1934). Art as experience. NY: G.P. Putnam. Dufrenne, Mikel. (1973). The phenomenology of aesthetic experience. Trans. Edward Casey, et al. Evantson, IL: Northwestern University Press. Eagleton, Terry. (1990). The ideology of the aesthetic. Oxford, UK: Basil Blackwell. Elliott, David. (1995). Music Matters. New York: Oxford University Press. Epperson, Gordon. (1967). The musical symbol: A study of the philosophic theory of music. Ames, IA: Iowa State University Press. Feagin, Susan and Patrick Maynard, Eds. (1997). Aesthetics. New York: Oxford University Press. Ferrara, Lawrence. (1991). Philosophy and the analysis of music: Bridges to musical sound, form, and reference. New York: Greenwood Press. Fiske, Harold E. (1990). Music and mind: Philosophical essays on the cognition and meaning of music. Lewiston, NY: Mellen Press. _____________. (1993). Music cognition and aesthetic attitudes. Lewiston, NY: Mellen Press. Gadamer, Hans-Georg. (1986). The relevance of the beautiful and other essays. Ed. Robert Bernasconi. Cambridge, UK: Cambridge University Press. Godlovitch, Stan. (1998). Musical performance: A philosophical study. London: Routledge. Godwin, Jocelyn. (1987). Harmonies of heaven and earth: The spiritual dimensions of music. Rochester, VT: Inner Traditions International. Goehr, Lydia. (1992). The imaginary museum of musical works: An essay in the philosophy of music. New York: Oxford University Press. Goodman, Nelson.. (1976). Languages of art: An approach to the theory of symbols. Indianapolis, IN: Hackett Publishing. Green, Lucy. (1988). Music on deaf ears: Musical meaning, ideology, education. Manchester, UK: Manchester University Press. ___________. (1997). Music, gender, education. Cambridge, UK: Cambridge University Press. Greene, Maxine. (2001). Variations on a blue guitar: The Lincoln Center Institute lectures on aesthetic education. NY: Teacher's College Press. Gurney, Edmund. (1966). The Power of Sound. New York: Basic Books. Hanslick, Eduard (1986). On the musically beautiful: A contribution towards the revision of the aesthetics of music. Trans. and ed. G. Payzant. Indianapolis, IN: Hackett Publishing. ______________. (1957). The beautiful in music. Trans. G. Cohen. Ed. M. Weitz. NY: Liberal Arts Press. Hegel, G. W. F. The philosophy of fine art. Trans. F.P. B. Osmaston. London: G. Bell and Sons, 1920. Higgins, Kathleen. (1991). The music of our lives. Philadelphia: Temple University Press. Hutcheson, Francis. (1973). Inquiry concerning beauty, order, harmony, design (1725). Ed. Peter Kivy. The Hague: Martinua Nijhoff. Ihde. don. (1976). Listening and voice: A phenomenology of sound. Athens, OH: Ohio University Press. Ingarden, Roman. (1986). The work of music and the problem of its identity. Berkeley: University of California Press. Jackson, Philip W. (1998). John Dewey and the lessons of art. New Haven, CT: Yale University Press. James, Jamie. (1993). The music of the spheres: Music, science, and the natural order. New York: Springer-Verlag. Jorgensen, Estelle R. (1997). In search of music education. Chicago: University of Illinois Press. Kant, Immanuel. The critique of judgment. Trans. J. C. Meredith. Oxford, UK: Clarendon Press, 1952. _____________. Observations on the feeling of the beautiful and sublime. Trans. J.T. Goldthwait. Berkeley, CA: University of California Press, 1960. Kerman, Joseph. (1985). Contemplating music. Cambridge, MA: Harvard University Press. Kivy, Peter. Introduction to a Philosophy of Music. Oxford, UK: Oxford University Press, 2002. _________.(1980). The corded shell: Reflections on musical expression. Princeton, NJ: Princeton University Press. _________. (1984). Sound and semblance: Reflections on musical representation. Princeton, NJ: Princeton University Press. _________. (1990). Music alone: reflections on the purely musical experience. Ithaca, NY: Cornell University Press. Kramer, Lawrence. (1990). Music as cultural practice, 1800-1900. Berkeley, CA: University of California Press. Krims, A. Ed. (1998). Music/ideology: Resisting the aesthetic. Amsterdam: Overseas Publishers Association. Langer, Susanne. (1942). Philosophy in a new key: A study in the symbolism of reason, rite, and art. Cambridge, MA: Harvard University Press. _____________. (1953). Feeling and form. _____________. (1957). Problems of art. Leppert, R. and McClary, Susan. (1987) Music and society: The politics of composition, performance, and reception. Cambridge, UK: Cambridge University Press. Levinson, Jerrold. (1990). Music, art, and metaphysics: Essays in philosophical aesthetics. Ithaca, NY: Cornell University Press. Levinson, Jerrold. Ed. (1998). Aesthetics and ethics: Essays at the intersection. Cambridge, UK: Cambridge University Press. Lippman, Edward. (1992). A history of western musical aesthetics. Lincoln, NE: University of Nebraska Press. _______________. (1964). Musical thought in ancient Greece. NY: Columbia University Press. Lyotard, Jean-Francois. (2001). Soundproof room: Malraux's anti-aesthetics. McClary, Susan. (1991). Feminine endings: Music, gender, and sexuality. Minneapolis,: University of Minnesota Press. Maconie, Robin. (1990). The concept of music. Oxford: Clarendon Press. Martin, Peter J. (1999). Sounds and society: Themes in the sociology of music. Manchester, UK: University of Manchester Press. Merleau-Ponty, Maurice. (1964). The primacy of perception and other essays on phenomenological psychology, the Philosophy of Art, History, and Politics. Ed. J.M. Edie. Evanston, IL: Northwestern University Press. Meyer, Leonard B. (1956). Emotion and meaning in music. Chicago: University of Chicago Press. _______________. (1973). Explaining music: Essays and explorations. berkeley, CA; University of California Press. ______________. (1989). Style
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