Book contents
- A History of Western Philosophy of Music
- A History of Western Philosophy of Music
- Copyright page
- Dedication
- Epigraph
- Contents
- Preface
- Chapter 1 The Ancient World
- Chapter 2 The Middle Ages
- Chapter 3 The Early Modern Period: 1500–1800
- Chapter 4 The Modern Period: 1800–1950
- Chapter 5 The Contemporary Period
- Envoi
- Bibliography
- Index
- References
Bibliography
Published online by Cambridge University Press: 18 January 2023
Book contents
- A History of Western Philosophy of Music
- A History of Western Philosophy of Music
- Copyright page
- Dedication
- Epigraph
- Contents
- Preface
- Chapter 1 The Ancient World
- Chapter 2 The Middle Ages
- Chapter 3 The Early Modern Period: 1500–1800
- Chapter 4 The Modern Period: 1800–1950
- Chapter 5 The Contemporary Period
- Envoi
- Bibliography
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- A History of Western Philosophy of Music , pp. 357 - 379Publisher: Cambridge University PressPrint publication year: 2023
References
Primary Sources
Aristides Quintilianus, , On Music, trans. Mathiesen, Thomas J., New Haven: Yale University Press, 1983.Google Scholar
Aristotle, , Metaphysics, Books 1–9, trans. Tredennick, Hugh, Cambridge, ma: Harvard University Press, 1933.Google Scholar
Aristotle, , On the Heavens, trans. Guthrie, W. K. C., Cambridge, ma: Harvard University Press, 1939.Google Scholar
Aristotle, , Poetics, trans. Halliwell, Stephen, Chapel Hill: University of North Carolina Press, 1987.Google Scholar
Aristotle, , The Politics, trans. Barker, Ernest, London: Oxford University Press, 1946.Google Scholar
Aristotle, , Problems, trans. Mayhew, Robert, Cambridge, ma: Harvard University Press, 2011.Google Scholar
Aristoxenus, , The Harmonics of Aristoxenus, trans. Macran, Henry S., Oxford: Clarendon Press, 1902.Google Scholar
Athenaeus, , The Deipnosophists, trans. Yonge, Charles Duke, London: Henry G. Bohn, 1854.Google Scholar
Augustine, , The City of God, trans. Walsh, Gerald G., Zema, Demetrius B., Monahan, Grace and Honan, Daniel J., Garden City: Image Books, 1958.Google Scholar
Augustine, , Writings of Saint Augustine, New York: Fathers of the Church, Inc., 1947.Google Scholar
Barker, Andrew (ed.), Greek Musical Writings, Volume i: The Musician and His Art, Cambridge: Cambridge University Press, 1984.Google Scholar
Barker, Andrew (ed.), Greek Musical Writings, Volume ii: Harmonic and Acoustic Theory, Cambridge: Cambridge University Press, 1990.Google Scholar
Boethius, , Fundamentals of Music, trans. Bower, Calvin M., New Haven: Yale University Press, 1989.Google Scholar
Butcher, S. H., Aristotle’s Theory of Poetry and Fine Art with a Critical Text and Translation of the Poetics, London: MacMillan and Co., 1907.Google Scholar
Cicero, , Tusculan Disputations, trans. King, J. E., Cambridge, ma: Harvard University Press, 1945.Google Scholar
Laertius, Diogenes, Lives of Eminent Philosophers, vol. ii, trans. Hicks, R. D., Cambridge, ma: Harvard University Press, 1925.Google Scholar
Grenfell, Bernard P. and Hunt, Arthur S. (eds), The Hibeh Papyri, London: Egypt Exploration Fund, 1906.Google Scholar
Hieronymus Cardanus, , Writings on Music, trans. Miller, Clement A., n.p.: American Institute of Musicology, 1973.Google Scholar
Iamblichus, , On the Pythagorean Life, trans. Clark, Gillian, Liverpool: Liverpool University Press, 1989.Google Scholar
Longinus, , On the Sublime, trans. Havell, H. L., revised Russell, Donald, in Aristotle xxiii, Cambridge, ma: Harvard University Press, 1995.Google Scholar
Lucretius, , Of the Nature of Things, trans. Leonard, William Ellery, London: J. M. Dent, 1916.Google Scholar
Plato, , The Collected Dialogues of Plato, Hamilton, Edith and Cairns, Huntington (eds), Princeton: Princeton University Press, 1963.Google Scholar
Plutarch, , Moralia, vol. 14, trans. De Lacy, Phillip H., Cambridge, ma: Harvard University Press, 1967.Google Scholar
Quintilian, , Institutio Oratoria, trans. Butler, H. E., London: William Heinemann, 1922.Google Scholar
Quintilian, , The Orator’s Education: Vol. iv, Books 9–10, trans. Russell, Donald A.. Cambridge, ma: Harvard University Press, 2002.Google Scholar
Sextus Empiricus, , Against the Musicians, trans. Greaves, Denise Davidson, Lincoln: University of Nebraska Press, 1986.Google Scholar
Brancacci, Aldo, “Music and Philosophy in the First Book of Aristides Quintilianus’ De Musica,” in Philosophy and Art in Late Antiquity, Iozzia, Daniele (ed.), Catania: Bonanno Editore, 2013, pp. 13–30.Google Scholar
Burkert, Walter, Lore and Science in Ancient Pythagoreanism, trans. Minar, Edwin L. Jr, Cambridge, ma: Harvard University Press, 1972.Google Scholar
Feichtinger, Hans, “‘Nothing Rash Must Be Said’: Augustine on Pythagoras,” American Catholic Philosophical Quarterly, 89 (2015), 253–76.CrossRefGoogle Scholar
Ferguson, Kitty, Pythagoras: His Lives and the Legacy of a Rational Universe, London: Icon, 2011.Google Scholar
Harap, Louis, “Some Hellenic Ideas on Music and Character,” The Musical Quarterly, 24 (1938), 153–68.Google Scholar
Knight, W. F. Jackson, St Augustine’s De Musica: A Synopsis, London: The Orthological Institute, 1947.Google Scholar
Kristeller, Paul Oskar, “The Modern System of the Arts: A Study in the History of Aesthetics (i),” Journal of the History of Ideas, 12 (1951), 496–527.Google Scholar
Kristeller, Paul Oskar, “The Modern System of the Arts: A Study in the History of Aesthetics (ii),” Journal of the History of Ideas, 13 (1952), 17–46.Google Scholar
La Croix, Richard R. (ed.), Augustine on Music: An Interdisciplinary Collection of Essays, Lewiston: Edwin Mellon, 1988.Google Scholar
Levin, Flora R., The Harmonics of Nicomachus and the Pythagorean Tradition, University Park: The American Philological Association, 1975.Google Scholar
Lippman, Edward A., Musical Thought in Ancient Greece, New York: Columbia University Press, 1964.Google Scholar
Mathiesen, Thomas J., “Harmonia and Ethos in Ancient Greek Music,” The Journal of Musicology, 3 (1984), 264–79.Google Scholar
Porter, James I., “Is Art Modern? Kristeller’s ‘Modern System of the Arts’ Reconsidered,” British Journal of Aesthetics, 49 (2009), 1–24.Google Scholar
Sambursky, Samuel, The Physical World of the Greeks, trans. Dagut, Merton, Princeton: Princeton University Press, 1956.Google Scholar
Schrade, Leo, “Music in the Philosophy of Boethius,” The Musical Quarterly, 33 (1947), 188–200.Google Scholar
Twining, Thomas, Aristotle’s Treatise on Poetry, Translated with Notes on the Translation, and on the Original; and Two Dissertations, on Poetical, and Musical, Imitation, London: Luke Howards & Sons, 1812.Google Scholar
Wilkinson, L. P., “Philodemus on Ethos in Music,” The Classical Quarterly, 32 (1938), 174–81.Google Scholar
Young, James O., “The Ancient and Modern System of the Arts,” British Journal of Aesthetics, 55 (2015), 1–17.Google Scholar
Secondary Sources
Aristides Quintilianus, , On Music, trans. Mathiesen, Thomas J., New Haven: Yale University Press, 1983.Google Scholar
Aristotle, , Metaphysics, Books 1–9, trans. Tredennick, Hugh, Cambridge, ma: Harvard University Press, 1933.Google Scholar
Aristotle, , On the Heavens, trans. Guthrie, W. K. C., Cambridge, ma: Harvard University Press, 1939.Google Scholar
Aristotle, , Poetics, trans. Halliwell, Stephen, Chapel Hill: University of North Carolina Press, 1987.Google Scholar
Aristotle, , The Politics, trans. Barker, Ernest, London: Oxford University Press, 1946.Google Scholar
Aristotle, , Problems, trans. Mayhew, Robert, Cambridge, ma: Harvard University Press, 2011.Google Scholar
Aristoxenus, , The Harmonics of Aristoxenus, trans. Macran, Henry S., Oxford: Clarendon Press, 1902.Google Scholar
Athenaeus, , The Deipnosophists, trans. Yonge, Charles Duke, London: Henry G. Bohn, 1854.Google Scholar
Augustine, , The City of God, trans. Walsh, Gerald G., Zema, Demetrius B., Monahan, Grace and Honan, Daniel J., Garden City: Image Books, 1958.Google Scholar
Augustine, , Writings of Saint Augustine, New York: Fathers of the Church, Inc., 1947.Google Scholar
Barker, Andrew (ed.), Greek Musical Writings, Volume i: The Musician and His Art, Cambridge: Cambridge University Press, 1984.Google Scholar
Barker, Andrew (ed.), Greek Musical Writings, Volume ii: Harmonic and Acoustic Theory, Cambridge: Cambridge University Press, 1990.Google Scholar
Boethius, , Fundamentals of Music, trans. Bower, Calvin M., New Haven: Yale University Press, 1989.Google Scholar
Butcher, S. H., Aristotle’s Theory of Poetry and Fine Art with a Critical Text and Translation of the Poetics, London: MacMillan and Co., 1907.Google Scholar
Cicero, , Tusculan Disputations, trans. King, J. E., Cambridge, ma: Harvard University Press, 1945.Google Scholar
Laertius, Diogenes, Lives of Eminent Philosophers, vol. ii, trans. Hicks, R. D., Cambridge, ma: Harvard University Press, 1925.Google Scholar
Grenfell, Bernard P. and Hunt, Arthur S. (eds), The Hibeh Papyri, London: Egypt Exploration Fund, 1906.Google Scholar
Hieronymus Cardanus, , Writings on Music, trans. Miller, Clement A., n.p.: American Institute of Musicology, 1973.Google Scholar
Iamblichus, , On the Pythagorean Life, trans. Clark, Gillian, Liverpool: Liverpool University Press, 1989.Google Scholar
Longinus, , On the Sublime, trans. Havell, H. L., revised Russell, Donald, in Aristotle xxiii, Cambridge, ma: Harvard University Press, 1995.Google Scholar
Lucretius, , Of the Nature of Things, trans. Leonard, William Ellery, London: J. M. Dent, 1916.Google Scholar
Plato, , The Collected Dialogues of Plato, Hamilton, Edith and Cairns, Huntington (eds), Princeton: Princeton University Press, 1963.Google Scholar
Plutarch, , Moralia, vol. 14, trans. De Lacy, Phillip H., Cambridge, ma: Harvard University Press, 1967.Google Scholar
Quintilian, , Institutio Oratoria, trans. Butler, H. E., London: William Heinemann, 1922.Google Scholar
Quintilian, , The Orator’s Education: Vol. iv, Books 9–10, trans. Russell, Donald A.. Cambridge, ma: Harvard University Press, 2002.Google Scholar
Sextus Empiricus, , Against the Musicians, trans. Greaves, Denise Davidson, Lincoln: University of Nebraska Press, 1986.Google Scholar
Brancacci, Aldo, “Music and Philosophy in the First Book of Aristides Quintilianus’ De Musica,” in Philosophy and Art in Late Antiquity, Iozzia, Daniele (ed.), Catania: Bonanno Editore, 2013, pp. 13–30.Google Scholar
Burkert, Walter, Lore and Science in Ancient Pythagoreanism, trans. Minar, Edwin L. Jr, Cambridge, ma: Harvard University Press, 1972.Google Scholar
Feichtinger, Hans, “‘Nothing Rash Must Be Said’: Augustine on Pythagoras,” American Catholic Philosophical Quarterly, 89 (2015), 253–76.CrossRefGoogle Scholar
Ferguson, Kitty, Pythagoras: His Lives and the Legacy of a Rational Universe, London: Icon, 2011.Google Scholar
Harap, Louis, “Some Hellenic Ideas on Music and Character,” The Musical Quarterly, 24 (1938), 153–68.Google Scholar
Knight, W. F. Jackson, St Augustine’s De Musica: A Synopsis, London: The Orthological Institute, 1947.Google Scholar
Kristeller, Paul Oskar, “The Modern System of the Arts: A Study in the History of Aesthetics (i),” Journal of the History of Ideas, 12 (1951), 496–527.Google Scholar
Kristeller, Paul Oskar, “The Modern System of the Arts: A Study in the History of Aesthetics (ii),” Journal of the History of Ideas, 13 (1952), 17–46.Google Scholar
La Croix, Richard R. (ed.), Augustine on Music: An Interdisciplinary Collection of Essays, Lewiston: Edwin Mellon, 1988.Google Scholar
Levin, Flora R., The Harmonics of Nicomachus and the Pythagorean Tradition, University Park: The American Philological Association, 1975.Google Scholar
Lippman, Edward A., Musical Thought in Ancient Greece, New York: Columbia University Press, 1964.Google Scholar
Mathiesen, Thomas J., “Harmonia and Ethos in Ancient Greek Music,” The Journal of Musicology, 3 (1984), 264–79.Google Scholar
Porter, James I., “Is Art Modern? Kristeller’s ‘Modern System of the Arts’ Reconsidered,” British Journal of Aesthetics, 49 (2009), 1–24.Google Scholar
Sambursky, Samuel, The Physical World of the Greeks, trans. Dagut, Merton, Princeton: Princeton University Press, 1956.Google Scholar
Schrade, Leo, “Music in the Philosophy of Boethius,” The Musical Quarterly, 33 (1947), 188–200.Google Scholar
Twining, Thomas, Aristotle’s Treatise on Poetry, Translated with Notes on the Translation, and on the Original; and Two Dissertations, on Poetical, and Musical, Imitation, London: Luke Howards & Sons, 1812.Google Scholar
Wilkinson, L. P., “Philodemus on Ethos in Music,” The Classical Quarterly, 32 (1938), 174–81.Google Scholar
Young, James O., “The Ancient and Modern System of the Arts,” British Journal of Aesthetics, 55 (2015), 1–17.Google Scholar
Alan of Lille, Anticlaudianus or the Good and Perfect Man, trans. Sheridan, James J., Toronto: Pontifical Institute of Mediaeval Studies, 1973.Google Scholar
Alan of Lille, The Plaint of Nature, trans. Sheridan, James J., Toronto: Pontifical Institute of Mediaeval Studies, 1980.Google Scholar
Albert the Great, On the Causes of the Properties of the Elements, trans. Resnick, Irven M., Milwaukee: Marquette University Press, 2010.Google Scholar
Al-Fārābī, , Al-Fārābī’s Arabic-Latin Writings on Music, trans. Farmer, Henry George, New York: Hinrichsen, 1934.Google Scholar
Al-Ghazali, Abu Hamed, Revival of Religion’s Sciences, trans. al-Sharif, Mohammad Mahdi, Beirut: Dar Al-Kotob Al-Ilmiyah, 2011.Google Scholar
Anonymous, , Musica Enchiriadis and Scolica Enchiriadis, trans. Erickson, Raymond, New Haven: Yale University Press, 1995.Google Scholar
Anonymous, , The Summa Musice: A Thirteenth Century Manual for Singers, trans. Page, Christopher, Cambridge: Cambridge University Press, 1991.Google Scholar
St Aquinas, Thomas, The Collected Works of St Thomas Aquinas, electronic edition, www.nix.com/collections/7.Google Scholar
Aurelian of Réôme, The Discipline of Music, trans. Ponte, Joseph, Colorado Springs: Colorado College Music Press, 1966.Google Scholar
Averroes, , Averroes on Plato’s Republic, trans. Lerner, Ralph, Ithaca: Cornell University Press, 1974.Google Scholar
Bacon, Roger, The Opus Majus, trans. Burke, Robert Belle, New York: Russell & Russell, 1962.Google Scholar
Bonaventure, , The Works of Bonaventure, trans. de Vinck, José, Paterson: St Anthony Guild Press, 1966.Google Scholar
Burtius, Nicolaus, Musices Opusculum, trans. Miller, Clement A., n.p.: American Institute of Musicology, 1983.Google Scholar
Ciconia, Johannes, Nova musica and De proportionibus, trans. Ellsworth, Oliver B., Lincoln: University of Nebraska Press, 1993.Google Scholar
Cochlaeus, Johannes, Tetrachordum Musices, trans. Miller, Clement A., n.p.: American Institute of Musicology, 1970.Google Scholar
Ficino, Marsilio, All Things Natural: Ficino on Plato’s Timaeus, trans. Farndell, Arthur, London: Shepheard-Walwyn, 2010.Google Scholar
Ficino, Marsilio, Platonic Theology, trans. Allen, Michael J. B., Cambridge, ma: Harvard University Press, 2002.Google Scholar
Ficino, Marsilio, The Letters of Marsilio Ficino, trans. Members of the Language Department of the School of Economic Science, London: Shepheard-Walwyn, 1975.Google Scholar
Florentius de Faxolis, , Book on Music, trans. Blackburn, Bonnie J. and Holford-Strevens, Leofranc, Cambridge, MA: Harvard University Press, 2010.Google Scholar
Gerbet, Martin (ed.), Scriptores ecclesiastici de musica sacra potissimum, Hildesheim: G. Olms, 1963.Google Scholar
Grocheio[Grocheo], Johannes de, Ars musice, trans. Mews, Constant J., Crossley, John N., Jeffreys, Catherine, McKinnon, Leigh and Williams, Carol J., Kalamazoo: Medieval Institute Publications, 2011.Google Scholar
Grocheo, Johannes de, Concerning Music, trans. Seay, Albert, Colorado Springs: Colorado Music College Press, 1967.Google Scholar
Guy of Saint-Denis, Tractatus de tonis, trans. Mews, Constant J., Williams, Carol J., Crossley, John N. and Jeffreys, Catherine, Kalamazoo: Medieval Institute Publications, 2017.Google Scholar
Hugh of Saint Victor, The Didascalicon, trans. Taylor, Jerome, New York: Columbia University Press, 1961.Google Scholar
Johannes de Garlandia, , Concerning Measured Music, trans. Birnbaum, Stanley H., Colorado Springs: Colorado College Music Press, 1978.Google Scholar
John the Scot, Periphyseon: On the Division of Nature, trans. Uhlfelder, Myra L., Indianapolis: Bobbs-Merrill, 1976.Google Scholar
Maimonides, Moses, The Guide for the Perplexed, trans. Friedlander, M., second edition, London: Routledge and Kegan Paul, 1904.Google Scholar
Marchetto of Padua, The Lucidarium of Marchetto of Padua, trans. Herlinger, Jan W., Chicago: University of Chicago Press, 1985.Google Scholar
Martianus Capella, , The Marriage of Philology and Mercury, trans. Stahl, William Harris and Johnson, Richard, with Burge, E. L., New York: Columbia University Press, 1977.Google Scholar
Palisca, Claude V. (ed.), Hucbald, Guido, and John on Music, trans. Babb, Warren, New Haven: Yale University Press, 1978.Google Scholar
Strohm, Reinhard and Donald Cullington, J. (eds), On the Dignity and the Effects of Music: Two Fifteenth-Century Treatises, London: Institute of Advanced Musical Studies, King’s College London, 1996.Google Scholar
Alon, Ilai and Abed, Shukri, Al-Fārābī’s Philosophical Lexicon, n.p.: The E. J. W. Gibb Memorial Trust, 2007.Google Scholar
Butterfield, Ardis, “The Language of Medieval Music: Two Thirteenth-Century Motets,” Plainsong and Medieval Music, 2 (1993), 1–16.Google Scholar
Dyer, Joseph, “Music, Passion and Virtue in Two Quodlibetal Questions of the Philosopher Pierre d’Auvergne,” Philomusica On-line, 15 (2016), 1–54.Google Scholar
Goddu, André, “Music as Art and Science in the Fourteenth Century,” in Scientia und Ars im Hoch und Spätmittelalter (Miscellanea Medievalia 22), Craemer-Rugenberg, Ingrid and Speer, Andreas (eds), New York: Walter de Gruyter, 1994, pp. 1023–45.Google Scholar
Haldane, John, “Medieval Aesthetics,” in The Routledge Companion to Aesthetics, Gaut, Berys and Lopes, Dominic McIver (eds), London: Routledge, 2013, pp. 25–35.Google Scholar
Ilnitchi, Gabriela, “Musica Mundana, Aristotelian Natural Philosophy and Ptolemaic Astronomy,” Early Music History, 21 (2002), 37–74.Google Scholar
Jeffreys, Catherine, “Some Early References to Aristotle’s Politics in Parisian Writings about Music,” in Identity and Locality in Early European Music, 1028–1740, Stoessel, Jason (ed.), Farnham: Ashgate, 2009, pp. 83–105.Google Scholar
Kristeller, Paul Oskar, “Music and Learning in the Early Italian Renaissance,” Journal of Renaissance and Baroque Music, 1 (1947), 255–74.Google Scholar
McCarthy, T. J. H., “Music, Medieval,” in Encyclopedia of Medieval Philosophy, Lagerlund, Henrik (ed.), Dordrecht: Springer, 2011, pp. 818–23.Google Scholar
Mews, Constant J., “Questioning the Music of the Spheres in Thirteenth-Century Paris: Johannes de Grocheio and Jerome de Moravia OP,” in Knowledge, Discipline and Power in the Middle Ages, Canning, Joseph, King, Edmund and Staub, Martial (eds), Leiden: Brill, 2011, pp. 95–117.Google Scholar
Page, Christopher, “A Treatise on Musicians from ?c. 1400: The Tractatulus de differentiis et gradibus cantorum by Arnulf de St Ghislain,” Journal of the Royal Musical Association, 117 (1992), 1–21.Google Scholar
Page, Christopher, “Reading and Remembrance: Tinctoris on the Beauty of Music,” Journal of the American Musicological Association, 49 (1996), 1–31.CrossRefGoogle Scholar
Portnoy, Julius, “Similarities of Musical Concepts in Ancient and Medieval Philosophy,” Journal of Aesthetics and Art Criticism, 7 (1949), 235–43.Google Scholar
Randel, Don M., “Al-Fārābī and the Role of Arabic Music Theory in the Latin Middle Ages,” Journal of the American Musicological Society, 29 (1976), 173–88.Google Scholar
Shiloah, Amnon (ed.), The Dimension of Music in Islamic and Jewish Culture, Aldershot: Variorum, 1993.Google Scholar
Smith, F. Joseph, Iacobi Leodiensis: Speculum Musicae i, Brooklyn: Institute of Medieval Music, 1966.Google Scholar
Smith, F. Joseph, Iacobi Leodiensis: Speculum Musicae ii, Brooklyn: Institute of Medieval Music, n.d.Google Scholar
Stevens, John, Words and Music in the Middle Ages: Song, Narrative, Dance and Drama 1051–1350, Cambridge: Cambridge University Press, 1986.Google Scholar
Werner, Eric and Sonne, Isaiah, “The Philosophy and Theory of Music in Judaeo-Arabic Literature,” Hebrew Union College Annual, 16 (1941), 251–319.Google Scholar
Werner, Eric and Sonne, Isaiah, “The Philosophy and Theory of Music in Judaeo-Arabic Literature,” Hebrew Union College Annual, 17 (1942–43), 511–72.Google Scholar
Alan of Lille, Anticlaudianus or the Good and Perfect Man, trans. Sheridan, James J., Toronto: Pontifical Institute of Mediaeval Studies, 1973.Google Scholar
Alan of Lille, The Plaint of Nature, trans. Sheridan, James J., Toronto: Pontifical Institute of Mediaeval Studies, 1980.Google Scholar
Albert the Great, On the Causes of the Properties of the Elements, trans. Resnick, Irven M., Milwaukee: Marquette University Press, 2010.Google Scholar
Al-Fārābī, , Al-Fārābī’s Arabic-Latin Writings on Music, trans. Farmer, Henry George, New York: Hinrichsen, 1934.Google Scholar
Al-Ghazali, Abu Hamed, Revival of Religion’s Sciences, trans. al-Sharif, Mohammad Mahdi, Beirut: Dar Al-Kotob Al-Ilmiyah, 2011.Google Scholar
Anonymous, , Musica Enchiriadis and Scolica Enchiriadis, trans. Erickson, Raymond, New Haven: Yale University Press, 1995.Google Scholar
Anonymous, , The Summa Musice: A Thirteenth Century Manual for Singers, trans. Page, Christopher, Cambridge: Cambridge University Press, 1991.Google Scholar
St Aquinas, Thomas, The Collected Works of St Thomas Aquinas, electronic edition, www.nix.com/collections/7.Google Scholar
Aurelian of Réôme, The Discipline of Music, trans. Ponte, Joseph, Colorado Springs: Colorado College Music Press, 1966.Google Scholar
Averroes, , Averroes on Plato’s Republic, trans. Lerner, Ralph, Ithaca: Cornell University Press, 1974.Google Scholar
Bacon, Roger, The Opus Majus, trans. Burke, Robert Belle, New York: Russell & Russell, 1962.Google Scholar
Bonaventure, , The Works of Bonaventure, trans. de Vinck, José, Paterson: St Anthony Guild Press, 1966.Google Scholar
Burtius, Nicolaus, Musices Opusculum, trans. Miller, Clement A., n.p.: American Institute of Musicology, 1983.Google Scholar
Ciconia, Johannes, Nova musica and De proportionibus, trans. Ellsworth, Oliver B., Lincoln: University of Nebraska Press, 1993.Google Scholar
Cochlaeus, Johannes, Tetrachordum Musices, trans. Miller, Clement A., n.p.: American Institute of Musicology, 1970.Google Scholar
Ficino, Marsilio, All Things Natural: Ficino on Plato’s Timaeus, trans. Farndell, Arthur, London: Shepheard-Walwyn, 2010.Google Scholar
Ficino, Marsilio, Platonic Theology, trans. Allen, Michael J. B., Cambridge, ma: Harvard University Press, 2002.Google Scholar
Ficino, Marsilio, The Letters of Marsilio Ficino, trans. Members of the Language Department of the School of Economic Science, London: Shepheard-Walwyn, 1975.Google Scholar
Florentius de Faxolis, , Book on Music, trans. Blackburn, Bonnie J. and Holford-Strevens, Leofranc, Cambridge, MA: Harvard University Press, 2010.Google Scholar
Gerbet, Martin (ed.), Scriptores ecclesiastici de musica sacra potissimum, Hildesheim: G. Olms, 1963.Google Scholar
Grocheio[Grocheo], Johannes de, Ars musice, trans. Mews, Constant J., Crossley, John N., Jeffreys, Catherine, McKinnon, Leigh and Williams, Carol J., Kalamazoo: Medieval Institute Publications, 2011.Google Scholar
Grocheo, Johannes de, Concerning Music, trans. Seay, Albert, Colorado Springs: Colorado Music College Press, 1967.Google Scholar
Guy of Saint-Denis, Tractatus de tonis, trans. Mews, Constant J., Williams, Carol J., Crossley, John N. and Jeffreys, Catherine, Kalamazoo: Medieval Institute Publications, 2017.Google Scholar
Hugh of Saint Victor, The Didascalicon, trans. Taylor, Jerome, New York: Columbia University Press, 1961.Google Scholar
Johannes de Garlandia, , Concerning Measured Music, trans. Birnbaum, Stanley H., Colorado Springs: Colorado College Music Press, 1978.Google Scholar
John the Scot, Periphyseon: On the Division of Nature, trans. Uhlfelder, Myra L., Indianapolis: Bobbs-Merrill, 1976.Google Scholar
Maimonides, Moses, The Guide for the Perplexed, trans. Friedlander, M., second edition, London: Routledge and Kegan Paul, 1904.Google Scholar
Marchetto of Padua, The Lucidarium of Marchetto of Padua, trans. Herlinger, Jan W., Chicago: University of Chicago Press, 1985.Google Scholar
Martianus Capella, , The Marriage of Philology and Mercury, trans. Stahl, William Harris and Johnson, Richard, with Burge, E. L., New York: Columbia University Press, 1977.Google Scholar
Palisca, Claude V. (ed.), Hucbald, Guido, and John on Music, trans. Babb, Warren, New Haven: Yale University Press, 1978.Google Scholar
Strohm, Reinhard and Donald Cullington, J. (eds), On the Dignity and the Effects of Music: Two Fifteenth-Century Treatises, London: Institute of Advanced Musical Studies, King’s College London, 1996.Google Scholar
Alon, Ilai and Abed, Shukri, Al-Fārābī’s Philosophical Lexicon, n.p.: The E. J. W. Gibb Memorial Trust, 2007.Google Scholar
Butterfield, Ardis, “The Language of Medieval Music: Two Thirteenth-Century Motets,” Plainsong and Medieval Music, 2 (1993), 1–16.Google Scholar
Dyer, Joseph, “Music, Passion and Virtue in Two Quodlibetal Questions of the Philosopher Pierre d’Auvergne,” Philomusica On-line, 15 (2016), 1–54.Google Scholar
Goddu, André, “Music as Art and Science in the Fourteenth Century,” in Scientia und Ars im Hoch und Spätmittelalter (Miscellanea Medievalia 22), Craemer-Rugenberg, Ingrid and Speer, Andreas (eds), New York: Walter de Gruyter, 1994, pp. 1023–45.Google Scholar
Haldane, John, “Medieval Aesthetics,” in The Routledge Companion to Aesthetics, Gaut, Berys and Lopes, Dominic McIver (eds), London: Routledge, 2013, pp. 25–35.Google Scholar
Ilnitchi, Gabriela, “Musica Mundana, Aristotelian Natural Philosophy and Ptolemaic Astronomy,” Early Music History, 21 (2002), 37–74.Google Scholar
Jeffreys, Catherine, “Some Early References to Aristotle’s Politics in Parisian Writings about Music,” in Identity and Locality in Early European Music, 1028–1740, Stoessel, Jason (ed.), Farnham: Ashgate, 2009, pp. 83–105.Google Scholar
Kristeller, Paul Oskar, “Music and Learning in the Early Italian Renaissance,” Journal of Renaissance and Baroque Music, 1 (1947), 255–74.Google Scholar
McCarthy, T. J. H., “Music, Medieval,” in Encyclopedia of Medieval Philosophy, Lagerlund, Henrik (ed.), Dordrecht: Springer, 2011, pp. 818–23.Google Scholar
Mews, Constant J., “Questioning the Music of the Spheres in Thirteenth-Century Paris: Johannes de Grocheio and Jerome de Moravia OP,” in Knowledge, Discipline and Power in the Middle Ages, Canning, Joseph, King, Edmund and Staub, Martial (eds), Leiden: Brill, 2011, pp. 95–117.Google Scholar
Page, Christopher, “A Treatise on Musicians from ?c. 1400: The Tractatulus de differentiis et gradibus cantorum by Arnulf de St Ghislain,” Journal of the Royal Musical Association, 117 (1992), 1–21.Google Scholar
Page, Christopher, “Reading and Remembrance: Tinctoris on the Beauty of Music,” Journal of the American Musicological Association, 49 (1996), 1–31.CrossRefGoogle Scholar
Portnoy, Julius, “Similarities of Musical Concepts in Ancient and Medieval Philosophy,” Journal of Aesthetics and Art Criticism, 7 (1949), 235–43.Google Scholar
Randel, Don M., “Al-Fārābī and the Role of Arabic Music Theory in the Latin Middle Ages,” Journal of the American Musicological Society, 29 (1976), 173–88.Google Scholar
Shiloah, Amnon (ed.), The Dimension of Music in Islamic and Jewish Culture, Aldershot: Variorum, 1993.Google Scholar
Smith, F. Joseph, Iacobi Leodiensis: Speculum Musicae i, Brooklyn: Institute of Medieval Music, 1966.Google Scholar
Smith, F. Joseph, Iacobi Leodiensis: Speculum Musicae ii, Brooklyn: Institute of Medieval Music, n.d.Google Scholar
Stevens, John, Words and Music in the Middle Ages: Song, Narrative, Dance and Drama 1051–1350, Cambridge: Cambridge University Press, 1986.Google Scholar
Werner, Eric and Sonne, Isaiah, “The Philosophy and Theory of Music in Judaeo-Arabic Literature,” Hebrew Union College Annual, 16 (1941), 251–319.Google Scholar
Werner, Eric and Sonne, Isaiah, “The Philosophy and Theory of Music in Judaeo-Arabic Literature,” Hebrew Union College Annual, 17 (1942–43), 511–72.Google Scholar
Addison, Joseph, “On the Pleasures of the Imagination, Part vi,” The Spectator, 416, 27 June 1712.Google Scholar
Alembert, Jean-Baptiste le Rond d’, Oeuvres completes de d’Alembert, Paris: A. Belin, 1821.Google Scholar
Alembert, Jean-Baptiste le Rond d’, Preliminary Discourse to the Encyclopedia of Diderot, trans. Schwab, Richard N., with the collaboration of Rex, Walter E., Indianapolis: Bobbs-Merrill, 1963.Google Scholar
Alison, Archibald, Essays on the Nature and Principles of Taste, London: Ward, Lock, & Co., 1790.Google Scholar
Anonymous, , Book review: Boyé, L’Expression musicale mise au rang des chimères, Journal encyclopédique, April 1779.Google Scholar
Bach, Carl Philipp Emanuel, Essay on the True Art of Playing Keyboard Instruments, second edition, trans. Mitchell, William J., London: Cassell and Company, 1951.Google Scholar
Baker, Nancy Kovaleff and Christensen, Thomas (eds), Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch, Cambridge: Cambridge University Press, 1995.Google Scholar
Bartel, Dietrich, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, Lincoln: University of Nebraska Press, 1997.Google Scholar
Batteux, Charles, Einschränkung der schönen Künste auf einen einzigen Grundsatz, third edition, trans. Schlegel, Johann Adolf, Leipzig: Weidmanns Erben und Reich, 1770.Google Scholar
Batteux, Charles, The Fine Arts Reduced to a Single Principle, trans. Young, James O., Oxford: Oxford University Press, 2015.Google Scholar
Beethoven, Ludwig van, Letters, Journals and Conversations, trans. Hamburger, Michael, London: Jonathan Cape, 1951.Google Scholar
Bongiorno, Andrew, Castelvetro on the Art of Poetry: An Abridged Translation of Lodovico Castelvetro’s Poetica d’Aristotele Vulgarizzata et Sposta, Binghamton: Medieval and Renaissance Texts and Studies, 1984.Google Scholar
Buelow, George, Thorough-Bass Accompaniment According to Johann David Heinichen, revised edition, Ann Arbor: UMI Research Press, 1986.Google Scholar
Burke, Edmund, A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful, Oxford: Oxford University Press, 1990.Google Scholar
Burmeister, Joachim, Musical Poetics, trans. Rivera, Benito V., New Haven: Yale University Press, 1993.Google Scholar
Coclico, Adrian Petit, Musical Compendium, trans. Saay, Albert, Colorado Springs: Colorado College Music Press, 1973.Google Scholar
D’Alembert, Jean-Baptiste le Rond, Preliminary Discourse to the Encyclopedia of Diderot, trans. Schwab, Richard N., with the collaboration of Rex, Walter E., Indianapolis: Bobbs-Merrill, 1963.Google Scholar
De Chabanon, Michel Paul Guy de, Observations sur la musique, et principalement sur la métaphysique, Paris: Pissot, 1779.Google Scholar
Descartes, René, Compendium of Music, trans. Robert, Walter, n.p.: American Institute of Musicology, 1961.Google Scholar
Descartes, René, The Passions of the Soul, trans. Voss, Stephen, Indianapolis: Hackett, 1989.Google Scholar
Descartes, René, The Philosophical Writings of Descartes, Vol. iii: The Correspondence, trans. Cottingham, John, Stoothoof, Robert, Murdoch, Dugald and Kenny, Anthony, Cambridge: Cambridge University Press, 1991.Google Scholar
Diderot, Denis, Lettre sur les sourds et muets. A l’usage de ceux qui entendent et qui parlent. Avec des additions, n.p.: 1751.Google Scholar
Dubois, Pierre, Charles Avison’s Essay on Musical Expression with Related Writings by William Hayes and Charles Avison, Aldershot: Ashgate, 2004.Google Scholar
DuBois, Ted Alan, Christian Friedrich Daniel Schubart’s Ideen zu einer Ästhetik de Tonkunst: An Annotated Translation, PhD dissertation, University of Southern California, 1983.Google Scholar
Du Bos, Jean-Baptiste, Critical Reflections on Poety and Painting, trans. Young, James O. and Cameron, Margaret, Leiden: Brill, 2021.Google Scholar
Fubini, Enrico (ed.), Music and Culture in Eighteenth-Century Europe: A Source Book, trans. Blackburn, Bonnie J., Chicago: University of Chicago Press, 1994.Google Scholar
Gaffurio, Franchino, The Theory of Music, trans. Kreyszig, Walter Kurt, New Haven: Yale University Press, 1993.Google Scholar
Gaffurius, Franchinus [Franchino Gaffurio], Practica Musicae, trans. Miller, Clement A. n.p.: American Institute of Musicology, 1968.Google Scholar
Galilei, Galileo, Dialogue Concerning the Two Chief World Systems, trans. Drake, Stillman, Berkeley: University of California Press, 1953.Google Scholar
Galilei, Vincenzo, Dialogue on Ancient and Modern Music, trans. Palisca, Claude V., New Haven: Yale University Press, 2003.Google Scholar
Glarean, Heinrich, Dodecachordon, 2 vols, trans. Miller, Clement A., n.p.: American Institute of Musicology, 1965.Google Scholar
Sir Hawkins, John, A General History of the Science and Practice of Music, New York: Dover, 1963.Google Scholar
Herder, Johann Gottfried, Selected Writings on Aesthetics, trans. Moore, Gregory, Princeton: Princeton University Press, 2006.Google Scholar
Heydenreich, Karl Heinrich, System der Ästhetik, Leipzig: Georg Joachim Göschen, 1790.Google Scholar
Homes, Henry, Kames, Lord, Elements of Criticism, sixth edition, Edinburgh: John Bell and William Creech, 1785.Google Scholar
le Huray, Peter and Day, James (eds), Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries, Cambridge: Cambridge University Press, 1981.Google Scholar
Hutcheson, Francis, An Inquiry into the Original of Our Ideas of Beauty and Virtue in Two Treatises, revised edition, Leidhold, Wolfgang (ed.), Indianapolis: Liberty Fund, 2004.Google Scholar
Sir Jones, William, Poems, Consisting Chiefly of Translations from the Asiatik Languages. To Which Are Added Two Essays; i. On the Poetry of the Eastern Nations. ii. On the Arts, Commonly Called Imitative, second edition, London: W. Boyer and J. Nichols, 1777.Google Scholar
Kant, Immanuel, Anthropology from a Pragmatic Point of View, trans. Louden, Robert B., in Anthropology, History, and Education, Zöller, Günter and Louden, Robert B. (eds), Cambridge: Cambridge University Press, 2007.Google Scholar
Kant, Immanuel, Critique of the Power of Judgement, trans. Guyer, Paul and Matthews, Eric, Cambridge: Cambridge University Press, 2000.Google Scholar
Kant, Immanuel, Kant’s Critique of Aesthetic Judgement, Translated with Seven Introductory Essays, Notes and Analytical Index, trans. Meredith, James Creed, Oxford: Clarendon Press, 1911.Google Scholar
Kepler, Johannes, The Harmony of the World, trans. Aiton, E. J., Dunca, A. M. and Field, J. V., Philadelphia: American Philosophical Society, 1997.Google Scholar
Kirnberger, Johann Philipp, The Art of Strict Musical Composition, trans. Beach, David and Thym, Jurgen, New Haven: Yale University Press, 1982.Google Scholar
Koch, Heinrich Christoph, Versuch einer Anleitung zur Composition, Leipzig: Adam F. Böhme, 1787.Google Scholar
Körner, Christian Gottfried, “On the Representation of Character in Music,” Musical Quarterly, 81 (1997), 599–631.Google Scholar
Le Clerc, Jean, Review of An Inquiry into the Original of Our Ideas of Beauty and Virtue in Two Treatises, Bibliothèque ancienne et moderne, 24 (1725), 421–37.Google Scholar
Leibniz, Gottfried Wilhelm, Philosophical Papers and Letters, second edition, trans. Loemker, Leroy E., Dordrecht: D. Reidel, 1969.Google Scholar
Mattheson, Johann, Der vollkommene Capellmeister, trans. Harriss, Ernest C., Ann Arbor: UMI Research Press, 1981.Google Scholar
Milizia, Francesco, Trattato completo, formale e material del teatro, Venice: Pietro and Giovanni-Battista Pasquali, 1795.Google Scholar
Montesquieu, , The Spirit of the Laws, trans. Cohler, Anne M., Miller, Basia Carolyn and Stone, Harold Samuel, Cambridge: Cambridge University Press, 1989.Google Scholar
Mozart, Leopold, A Treatise on the Fundamental Principles of Violin Playing, second edition, trans. Knocker, Editha, London: Oxford University Press, 1951.Google Scholar
Palisca, Claude V. (ed.), The Florentine Camerata: Documentary Studies and Translations, New Haven: Yale University Press, 1989.Google Scholar
Planelli, Antonio, Dell’opera in musica, Naples: Nella Stamperia di Donato Campo, 1772.Google Scholar
Quantz, Johann Joachim, On Playing the Flute, second edition, trans. Reilly, Edward R., New York: Schirmer Books, 1985.Google Scholar
Rameau, Jean-Philippe, Treatise on Harmony, trans. Gossett, Philip, New York: Dover, 1971.Google Scholar
Ramos de Pareja, Bartolomé, Musica Practica, trans. Miller, Clement A., n.p.: American Institute of Musicology, 1992.Google Scholar
Reid, Thomas, Thomas Reid’s Lectures on the Fine Arts Transcribed from the Original Manuscript, with an Introduction and Notes, ed. Kivy, Peter, The Hague: Martinus Nijhoff, 1973.Google Scholar
Reid, Thomas, Thomas Reid on Logic, Rhetoric and the Fine Arts: Papers on the Culture of the Mind, ed. Broadie, Alexander, University Park: Pennsylvania State University Press, 2004.Google Scholar
Robertson, Thomas, An Inquiry into the Fine Arts, London: W. Strahan and T. Cadell, 1784.Google Scholar
Rousseau, Jean-Jacques, Essay on the Origin of Languages, trans. Scott, John T., in Collected Writings, vol. 7, Hanover: University of Press of New England, 1998.Google Scholar
Smith, Adam, Essays on Philosophical Subjects, ed. Wightman, W. P. D. and Bryce, J. C., Oxford: Clarendon Press, 1980.Google Scholar
Smith, Marshall, The Art of Painting According to the Theory and Practise of the Best Italian, French, and Germane Masters, London: Printed for the Author, 1693.Google Scholar
Tammearu, Peeter, Kircher and Musica Pathetica: A Translation from Musurgia universalis, PhD dissertation, Florida State University, 2000.Google Scholar
Tinctoris, Johannes, Concerning the Nature and Propriety of Tones, Colorado Springs: Colorado College Music Press, 1976.Google Scholar
Twining, Thomas, Aristotle’s Treatise on Poetry Translated: With Notes on the Translation, and on the Original, and Two Dissertations, on Poetical, and Musical, Imitation, London: Payne and Son, 1789.Google Scholar
Vasari, Giorgio, Lives of the Most Eminent Painters, Sculptors, and Architects, trans. Mrs Foster, Jonathan, London: George Bell and Sons, 1894.Google Scholar
Verba, Cynthia (ed.), Music and the French Enlightenment: Rameau and the Philosophes in Dialogue, second edition, Oxford: Oxford University Press, 2017.Google Scholar
Vicentino, Nicola, L’Antica musica ridotta alla moderna prattica, Rome: Antonio Barre, 1557.Google Scholar
Webb, Daniel, Observations on the Correspondence between Poetry and Music, Dublin: James Williams, 1769.Google Scholar
Young, Edward, Conjectures on Original Composition, Manchester: Manchester University Press, 1918.Google Scholar
Zarlino, Gioseffo, On the Modes: Part Four of Le Istitutioni Harmoniche, trans. Cohen, Vered, New Haven: Yale University Press, 1983.Google Scholar
Zarlino, Gioseffo, The Art of Counterpoint: Part Three of Le Istitutioni Harmoniche, 1558, trans. Marco, Guy A. and Palisca, Claude V., New Haven: Yale University Press, 1968.Google Scholar
Bruno, Paul W., Kant’s Concept of Genius: Its Origin and Function in the Third Critique, London: Continuum, 2010.Google Scholar
Carapetyan, Armen, “The Concept of ‘Imitazione della natura’ in the Sixteenth Century,” Journal of Renaissance and Baroque Music, 1 (1946), 47–67.Google Scholar
Coelho, Victor, “The Reputation of Francesco da Milano (1497–1543) and the Ricercars in the ‘Cavalcanti Lute Book,’” Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekwetenschap, 50 (1996), 49–72.Google Scholar
Duncan, David Allen, “Persuading the Affections: Rhetorical Theory and Mersenne’s Advice to Harmonic Orators,” in French Musical Thought, 1600–1800, Cowart, Georgia (ed.), Ann Arbor: UMI Research Press, 1989, pp. 149–75.Google Scholar
Einstein, Alfred, The Italian Madrigal, trans. Krappe, Alexander H., Sessions, Roger H. and Strunk, Oliver, Princeton: Princeton University Press, 1949.Google Scholar
Fellerer, K. G., “Church Music and the Council of Trent,” The Musical Quarterly, 39 (1953), 576–94.Google Scholar
Flaherty, Gloria, Opera in the Development of German Critical Thought, Princeton: Princeton University Press, 1978.Google Scholar
Güttler, Hermann, “Kant un sein musikalischer Umkreis,” in Beethoven-Zentenarfeier: Internationaler musikhistorischer Kongress, Adler, Guido (ed.), Vienna: Universal, 1927, pp. 217–21.Google Scholar
Jorgensen, Larry M., “Descartes on Music: Between the Ancients and the Aestheticians,” British Journal of Aesthetics, 52 (2012), 407–24.CrossRefGoogle Scholar
Kivy, Peter, “Kant and the Affektenlehre: What He Said, and What I Wish He Had Said,” in The Fine Art of Repetition: Essays in the Philosophy of Music, Cambridge: Cambridge University Press, 1993, pp. 250–64.Google Scholar
Kivy, Peter, The Possessor and the Possessed: Handel, Mozart, Beethoven, and the Idea of Musical Genius, New Haven: Yale University Press, 2001.Google Scholar
Lowinsky, Edward E., “Music of the Renaissance as Viewed by Renaissance Musicians,” in The Renaissance Image of Man and the World, O’Kelly, Bernard (ed.), Columbus: Ohio State University Press, 1966, pp. 129–77.Google Scholar
Lowinsky, Edward E., “Musical Genius – Evolution and Origins of a Concept,” Musical Quarterly, 50 (1964), 321–40.Google Scholar
Lowinsky, Edward E., “Musical Genius – Evolution and Origins of a Concept – ii,” Musical Quarterly, 50 (1964), 476–95.Google Scholar
Mace, Dean T., “Marin Mersenne on Language and Music,” Journal of Music Theory, 14 (1970), 2–34.Google Scholar
Neubauer, John, The Emancipation of Music from Language: Departure from Mimesis in Eighteenth-Century Aesthetics, New Haven: Yale University Press, 1986.Google Scholar
Owens, Jessie Ann, “Music Historiography and the Definition of ‘Renaissance,’” Notes, 47 (1990), 305–30.Google Scholar
Pizer, John, “Lessing’s Reception of Charles Batteux,” Lessing Yearbook, 21 (1989), 29–43.Google Scholar
Pritchard, Matthew, “Music in Balance: The Aesthetics of Music after Kant, 1790–1810,” The Journal of Musicology 36 (2019), 39–67.Google Scholar
Raynor, D. R., “Hutcheson’s Defence against a Charge of Plagiarism,” Eighteenth-Century Ireland, 2 (1987), 177–81.Google Scholar
Schueller, Herbert M., “‘Imitation’ and ‘Expression’ in British Music Criticism in the 18th Century,” Musical Quarterly, 34 (1948), 544–66.Google Scholar
Schueller, Herbert M., “Immanuel Kant and the Aesthetics of Music,” Journal of Aesthetics and Art Criticism, 14 (1955), 218–47.Google Scholar
Verba, Cynthia, Music and the French Enlightenment: Rameau and the Philosophes in Dialogue, second edition, Oxford: Oxford University Press, 2017.Google Scholar
Wegman, Rob C., “Who Was Josquin?,” in The Josquin Companion, Sherr, Richard (ed.), Oxford: Oxford University Press, 2000, pp. 21–50.Google Scholar
Young, James O., “Kant’s Musical Anti-formalism,” Journal of Aesthetics and Art Criticism, 78 (2020), 171–81.Google Scholar
Young, James O., “Key, Temperament and Musical Expression,” Journal of Aesthetics and Art Criticism, 49 (1991), 235–42.Google Scholar
Young, James O., “Kivy on Musical Genius,” British Journal of Aesthetics, 52 (2011), 1–12.Google Scholar
Young, James O., “On the Enshrinement of Musical Genius,” International Review of the Aesthetics and Sociology of Music, 45 (2014), 47–62.Google Scholar
Zammito, John H., The Genesis of Kant’s Critique of Judgment, Chicago: University of Chicago Press, 1992.Google Scholar
Addison, Joseph, “On the Pleasures of the Imagination, Part vi,” The Spectator, 416, 27 June 1712.Google Scholar
Alembert, Jean-Baptiste le Rond d’, Oeuvres completes de d’Alembert, Paris: A. Belin, 1821.Google Scholar
Alembert, Jean-Baptiste le Rond d’, Preliminary Discourse to the Encyclopedia of Diderot, trans. Schwab, Richard N., with the collaboration of Rex, Walter E., Indianapolis: Bobbs-Merrill, 1963.Google Scholar
Alison, Archibald, Essays on the Nature and Principles of Taste, London: Ward, Lock, & Co., 1790.Google Scholar
Anonymous, , Book review: Boyé, L’Expression musicale mise au rang des chimères, Journal encyclopédique, April 1779.Google Scholar
Bach, Carl Philipp Emanuel, Essay on the True Art of Playing Keyboard Instruments, second edition, trans. Mitchell, William J., London: Cassell and Company, 1951.Google Scholar
Baker, Nancy Kovaleff and Christensen, Thomas (eds), Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch, Cambridge: Cambridge University Press, 1995.Google Scholar
Bartel, Dietrich, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, Lincoln: University of Nebraska Press, 1997.Google Scholar
Batteux, Charles, Einschränkung der schönen Künste auf einen einzigen Grundsatz, third edition, trans. Schlegel, Johann Adolf, Leipzig: Weidmanns Erben und Reich, 1770.Google Scholar
Batteux, Charles, The Fine Arts Reduced to a Single Principle, trans. Young, James O., Oxford: Oxford University Press, 2015.Google Scholar
Beethoven, Ludwig van, Letters, Journals and Conversations, trans. Hamburger, Michael, London: Jonathan Cape, 1951.Google Scholar
Bongiorno, Andrew, Castelvetro on the Art of Poetry: An Abridged Translation of Lodovico Castelvetro’s Poetica d’Aristotele Vulgarizzata et Sposta, Binghamton: Medieval and Renaissance Texts and Studies, 1984.Google Scholar
Buelow, George, Thorough-Bass Accompaniment According to Johann David Heinichen, revised edition, Ann Arbor: UMI Research Press, 1986.Google Scholar
Burke, Edmund, A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful, Oxford: Oxford University Press, 1990.Google Scholar
Burmeister, Joachim, Musical Poetics, trans. Rivera, Benito V., New Haven: Yale University Press, 1993.Google Scholar
Coclico, Adrian Petit, Musical Compendium, trans. Saay, Albert, Colorado Springs: Colorado College Music Press, 1973.Google Scholar
D’Alembert, Jean-Baptiste le Rond, Preliminary Discourse to the Encyclopedia of Diderot, trans. Schwab, Richard N., with the collaboration of Rex, Walter E., Indianapolis: Bobbs-Merrill, 1963.Google Scholar
De Chabanon, Michel Paul Guy de, Observations sur la musique, et principalement sur la métaphysique, Paris: Pissot, 1779.Google Scholar
Descartes, René, Compendium of Music, trans. Robert, Walter, n.p.: American Institute of Musicology, 1961.Google Scholar
Descartes, René, The Passions of the Soul, trans. Voss, Stephen, Indianapolis: Hackett, 1989.Google Scholar
Descartes, René, The Philosophical Writings of Descartes, Vol. iii: The Correspondence, trans. Cottingham, John, Stoothoof, Robert, Murdoch, Dugald and Kenny, Anthony, Cambridge: Cambridge University Press, 1991.Google Scholar
Diderot, Denis, Lettre sur les sourds et muets. A l’usage de ceux qui entendent et qui parlent. Avec des additions, n.p.: 1751.Google Scholar
Dubois, Pierre, Charles Avison’s Essay on Musical Expression with Related Writings by William Hayes and Charles Avison, Aldershot: Ashgate, 2004.Google Scholar
DuBois, Ted Alan, Christian Friedrich Daniel Schubart’s Ideen zu einer Ästhetik de Tonkunst: An Annotated Translation, PhD dissertation, University of Southern California, 1983.Google Scholar
Du Bos, Jean-Baptiste, Critical Reflections on Poety and Painting, trans. Young, James O. and Cameron, Margaret, Leiden: Brill, 2021.Google Scholar
Fubini, Enrico (ed.), Music and Culture in Eighteenth-Century Europe: A Source Book, trans. Blackburn, Bonnie J., Chicago: University of Chicago Press, 1994.Google Scholar
Gaffurio, Franchino, The Theory of Music, trans. Kreyszig, Walter Kurt, New Haven: Yale University Press, 1993.Google Scholar
Gaffurius, Franchinus [Franchino Gaffurio], Practica Musicae, trans. Miller, Clement A. n.p.: American Institute of Musicology, 1968.Google Scholar
Galilei, Galileo, Dialogue Concerning the Two Chief World Systems, trans. Drake, Stillman, Berkeley: University of California Press, 1953.Google Scholar
Galilei, Vincenzo, Dialogue on Ancient and Modern Music, trans. Palisca, Claude V., New Haven: Yale University Press, 2003.Google Scholar
Glarean, Heinrich, Dodecachordon, 2 vols, trans. Miller, Clement A., n.p.: American Institute of Musicology, 1965.Google Scholar
Sir Hawkins, John, A General History of the Science and Practice of Music, New York: Dover, 1963.Google Scholar
Herder, Johann Gottfried, Selected Writings on Aesthetics, trans. Moore, Gregory, Princeton: Princeton University Press, 2006.Google Scholar
Heydenreich, Karl Heinrich, System der Ästhetik, Leipzig: Georg Joachim Göschen, 1790.Google Scholar
Homes, Henry, Kames, Lord, Elements of Criticism, sixth edition, Edinburgh: John Bell and William Creech, 1785.Google Scholar
le Huray, Peter and Day, James (eds), Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries, Cambridge: Cambridge University Press, 1981.Google Scholar
Hutcheson, Francis, An Inquiry into the Original of Our Ideas of Beauty and Virtue in Two Treatises, revised edition, Leidhold, Wolfgang (ed.), Indianapolis: Liberty Fund, 2004.Google Scholar
Sir Jones, William, Poems, Consisting Chiefly of Translations from the Asiatik Languages. To Which Are Added Two Essays; i. On the Poetry of the Eastern Nations. ii. On the Arts, Commonly Called Imitative, second edition, London: W. Boyer and J. Nichols, 1777.Google Scholar
Kant, Immanuel, Anthropology from a Pragmatic Point of View, trans. Louden, Robert B., in Anthropology, History, and Education, Zöller, Günter and Louden, Robert B. (eds), Cambridge: Cambridge University Press, 2007.Google Scholar
Kant, Immanuel, Critique of the Power of Judgement, trans. Guyer, Paul and Matthews, Eric, Cambridge: Cambridge University Press, 2000.Google Scholar
Kant, Immanuel, Kant’s Critique of Aesthetic Judgement, Translated with Seven Introductory Essays, Notes and Analytical Index, trans. Meredith, James Creed, Oxford: Clarendon Press, 1911.Google Scholar
Kepler, Johannes, The Harmony of the World, trans. Aiton, E. J., Dunca, A. M. and Field, J. V., Philadelphia: American Philosophical Society, 1997.Google Scholar
Kirnberger, Johann Philipp, The Art of Strict Musical Composition, trans. Beach, David and Thym, Jurgen, New Haven: Yale University Press, 1982.Google Scholar
Koch, Heinrich Christoph, Versuch einer Anleitung zur Composition, Leipzig: Adam F. Böhme, 1787.Google Scholar
Körner, Christian Gottfried, “On the Representation of Character in Music,” Musical Quarterly, 81 (1997), 599–631.Google Scholar
Le Clerc, Jean, Review of An Inquiry into the Original of Our Ideas of Beauty and Virtue in Two Treatises, Bibliothèque ancienne et moderne, 24 (1725), 421–37.Google Scholar
Leibniz, Gottfried Wilhelm, Philosophical Papers and Letters, second edition, trans. Loemker, Leroy E., Dordrecht: D. Reidel, 1969.Google Scholar
Mattheson, Johann, Der vollkommene Capellmeister, trans. Harriss, Ernest C., Ann Arbor: UMI Research Press, 1981.Google Scholar
Milizia, Francesco, Trattato completo, formale e material del teatro, Venice: Pietro and Giovanni-Battista Pasquali, 1795.Google Scholar
Montesquieu, , The Spirit of the Laws, trans. Cohler, Anne M., Miller, Basia Carolyn and Stone, Harold Samuel, Cambridge: Cambridge University Press, 1989.Google Scholar
Mozart, Leopold, A Treatise on the Fundamental Principles of Violin Playing, second edition, trans. Knocker, Editha, London: Oxford University Press, 1951.Google Scholar
Palisca, Claude V. (ed.), The Florentine Camerata: Documentary Studies and Translations, New Haven: Yale University Press, 1989.Google Scholar
Planelli, Antonio, Dell’opera in musica, Naples: Nella Stamperia di Donato Campo, 1772.Google Scholar
Quantz, Johann Joachim, On Playing the Flute, second edition, trans. Reilly, Edward R., New York: Schirmer Books, 1985.Google Scholar
Rameau, Jean-Philippe, Treatise on Harmony, trans. Gossett, Philip, New York: Dover, 1971.Google Scholar
Ramos de Pareja, Bartolomé, Musica Practica, trans. Miller, Clement A., n.p.: American Institute of Musicology, 1992.Google Scholar
Reid, Thomas, Thomas Reid’s Lectures on the Fine Arts Transcribed from the Original Manuscript, with an Introduction and Notes, ed. Kivy, Peter, The Hague: Martinus Nijhoff, 1973.Google Scholar
Reid, Thomas, Thomas Reid on Logic, Rhetoric and the Fine Arts: Papers on the Culture of the Mind, ed. Broadie, Alexander, University Park: Pennsylvania State University Press, 2004.Google Scholar
Robertson, Thomas, An Inquiry into the Fine Arts, London: W. Strahan and T. Cadell, 1784.Google Scholar
Rousseau, Jean-Jacques, Essay on the Origin of Languages, trans. Scott, John T., in Collected Writings, vol. 7, Hanover: University of Press of New England, 1998.Google Scholar
Smith, Adam, Essays on Philosophical Subjects, ed. Wightman, W. P. D. and Bryce, J. C., Oxford: Clarendon Press, 1980.Google Scholar
Smith, Marshall, The Art of Painting According to the Theory and Practise of the Best Italian, French, and Germane Masters, London: Printed for the Author, 1693.Google Scholar
Tammearu, Peeter, Kircher and Musica Pathetica: A Translation from Musurgia universalis, PhD dissertation, Florida State University, 2000.Google Scholar
Tinctoris, Johannes, Concerning the Nature and Propriety of Tones, Colorado Springs: Colorado College Music Press, 1976.Google Scholar
Twining, Thomas, Aristotle’s Treatise on Poetry Translated: With Notes on the Translation, and on the Original, and Two Dissertations, on Poetical, and Musical, Imitation, London: Payne and Son, 1789.Google Scholar
Vasari, Giorgio, Lives of the Most Eminent Painters, Sculptors, and Architects, trans. Mrs Foster, Jonathan, London: George Bell and Sons, 1894.Google Scholar
Verba, Cynthia (ed.), Music and the French Enlightenment: Rameau and the Philosophes in Dialogue, second edition, Oxford: Oxford University Press, 2017.Google Scholar
Vicentino, Nicola, L’Antica musica ridotta alla moderna prattica, Rome: Antonio Barre, 1557.Google Scholar
Webb, Daniel, Observations on the Correspondence between Poetry and Music, Dublin: James Williams, 1769.Google Scholar
Young, Edward, Conjectures on Original Composition, Manchester: Manchester University Press, 1918.Google Scholar
Zarlino, Gioseffo, On the Modes: Part Four of Le Istitutioni Harmoniche, trans. Cohen, Vered, New Haven: Yale University Press, 1983.Google Scholar
Zarlino, Gioseffo, The Art of Counterpoint: Part Three of Le Istitutioni Harmoniche, 1558, trans. Marco, Guy A. and Palisca, Claude V., New Haven: Yale University Press, 1968.Google Scholar
Bruno, Paul W., Kant’s Concept of Genius: Its Origin and Function in the Third Critique, London: Continuum, 2010.Google Scholar
Carapetyan, Armen, “The Concept of ‘Imitazione della natura’ in the Sixteenth Century,” Journal of Renaissance and Baroque Music, 1 (1946), 47–67.Google Scholar
Coelho, Victor, “The Reputation of Francesco da Milano (1497–1543) and the Ricercars in the ‘Cavalcanti Lute Book,’” Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekwetenschap, 50 (1996), 49–72.Google Scholar
Duncan, David Allen, “Persuading the Affections: Rhetorical Theory and Mersenne’s Advice to Harmonic Orators,” in French Musical Thought, 1600–1800, Cowart, Georgia (ed.), Ann Arbor: UMI Research Press, 1989, pp. 149–75.Google Scholar
Einstein, Alfred, The Italian Madrigal, trans. Krappe, Alexander H., Sessions, Roger H. and Strunk, Oliver, Princeton: Princeton University Press, 1949.Google Scholar
Fellerer, K. G., “Church Music and the Council of Trent,” The Musical Quarterly, 39 (1953), 576–94.Google Scholar
Flaherty, Gloria, Opera in the Development of German Critical Thought, Princeton: Princeton University Press, 1978.Google Scholar
Güttler, Hermann, “Kant un sein musikalischer Umkreis,” in Beethoven-Zentenarfeier: Internationaler musikhistorischer Kongress, Adler, Guido (ed.), Vienna: Universal, 1927, pp. 217–21.Google Scholar
Jorgensen, Larry M., “Descartes on Music: Between the Ancients and the Aestheticians,” British Journal of Aesthetics, 52 (2012), 407–24.CrossRefGoogle Scholar
Kivy, Peter, “Kant and the Affektenlehre: What He Said, and What I Wish He Had Said,” in The Fine Art of Repetition: Essays in the Philosophy of Music, Cambridge: Cambridge University Press, 1993, pp. 250–64.Google Scholar
Kivy, Peter, The Possessor and the Possessed: Handel, Mozart, Beethoven, and the Idea of Musical Genius, New Haven: Yale University Press, 2001.Google Scholar
Lowinsky, Edward E., “Music of the Renaissance as Viewed by Renaissance Musicians,” in The Renaissance Image of Man and the World, O’Kelly, Bernard (ed.), Columbus: Ohio State University Press, 1966, pp. 129–77.Google Scholar
Lowinsky, Edward E., “Musical Genius – Evolution and Origins of a Concept,” Musical Quarterly, 50 (1964), 321–40.Google Scholar
Lowinsky, Edward E., “Musical Genius – Evolution and Origins of a Concept – ii,” Musical Quarterly, 50 (1964), 476–95.Google Scholar
Mace, Dean T., “Marin Mersenne on Language and Music,” Journal of Music Theory, 14 (1970), 2–34.Google Scholar
Neubauer, John, The Emancipation of Music from Language: Departure from Mimesis in Eighteenth-Century Aesthetics, New Haven: Yale University Press, 1986.Google Scholar
Owens, Jessie Ann, “Music Historiography and the Definition of ‘Renaissance,’” Notes, 47 (1990), 305–30.Google Scholar
Pizer, John, “Lessing’s Reception of Charles Batteux,” Lessing Yearbook, 21 (1989), 29–43.Google Scholar
Pritchard, Matthew, “Music in Balance: The Aesthetics of Music after Kant, 1790–1810,” The Journal of Musicology 36 (2019), 39–67.Google Scholar
Raynor, D. R., “Hutcheson’s Defence against a Charge of Plagiarism,” Eighteenth-Century Ireland, 2 (1987), 177–81.Google Scholar
Schueller, Herbert M., “‘Imitation’ and ‘Expression’ in British Music Criticism in the 18th Century,” Musical Quarterly, 34 (1948), 544–66.Google Scholar
Schueller, Herbert M., “Immanuel Kant and the Aesthetics of Music,” Journal of Aesthetics and Art Criticism, 14 (1955), 218–47.Google Scholar
Verba, Cynthia, Music and the French Enlightenment: Rameau and the Philosophes in Dialogue, second edition, Oxford: Oxford University Press, 2017.Google Scholar
Wegman, Rob C., “Who Was Josquin?,” in The Josquin Companion, Sherr, Richard (ed.), Oxford: Oxford University Press, 2000, pp. 21–50.Google Scholar
Young, James O., “Kant’s Musical Anti-formalism,” Journal of Aesthetics and Art Criticism, 78 (2020), 171–81.Google Scholar
Young, James O., “Key, Temperament and Musical Expression,” Journal of Aesthetics and Art Criticism, 49 (1991), 235–42.Google Scholar
Young, James O., “Kivy on Musical Genius,” British Journal of Aesthetics, 52 (2011), 1–12.Google Scholar
Young, James O., “On the Enshrinement of Musical Genius,” International Review of the Aesthetics and Sociology of Music, 45 (2014), 47–62.Google Scholar
Zammito, John H., The Genesis of Kant’s Critique of Judgment, Chicago: University of Chicago Press, 1992.Google Scholar
Adorno, Theodor W., Aesthetic Theory, trans. Hullot-Kentor, Robert, London: Bloomsbury, 2013.Google Scholar
Adorno, Theodor W., Essays on Music, trans. Gillespie, Susan H., Berkeley: University of California Press, 2002.Google Scholar
Adorno, Theodor W., Introduction to the Sociology of Music, trans. Ashton, E. B., New York: Seabury Press, 1976.Google Scholar
Adorno, Theodor W., “Music, Language, and Composition,” The Musical Quarterly, 77 (1993), 401–14.Google Scholar
Adorno, Theodor W., Negative Dialectics, trans. Ashton, E. B., New York: Continuum, 1973.Google Scholar
Adorno, Theodor W., Philosophy of New Music, trans. Hullot-Kentor, Robert, Minneapolis: University of Minnesota Press, 2006.Google Scholar
Adorno, Theodor W., Quasi una Fantasia: Essays on Modern Music, trans. Livingstone, Rodney, London: Verso, 1998.Google Scholar
Ambros, Wilhelm August, The Boundaries of Music and Poetry, New York: G. Schirmer, 1893.Google Scholar
Berg, Alban, “The Problem of Opera,” in Classic Essays on Twentieth-Century Music: A Continuing Symposium, Kostelanetz, Richard and Darby, Joseph (eds), New York: Schirmer Books, 1996, pp. 277–79.Google Scholar
Berlioz, Hector, The Life of Hector Berlioz as Written by Himself in His Letters & Memoirs, trans. Boult, Katherine F., London: J. M. Dent & Sons, n.d.Google Scholar
Bloch, Ernst, Essays on the Philosophy of Music, trans. Palmer, Peter, Cambridge: Cambridge University Press, 1974.Google Scholar
Bloch, Ernst, The Principle of Hope, trans. Plaice, Neville, Plaice, Stephen and Knight, Paul, Oxford: Basil Blackwell, 1986.Google Scholar
Bloch, Ernst, The Spirit of Utopia, trans. Nassar, Anthony A., Stanford: Stanford University Press, 2000.Google Scholar
Britan, Halbert Hains, The Philosophy of Music: A Comparative Investigation into the Principles of Musical Aesthetics, New York: Longmans, Green, and Co., 1911.Google Scholar
Conrad, Waldemar, “Der ästhetische Gegenstand 1: Eine phänomenologische Studie,” Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft, 3 (1908), 71–118.Google Scholar
Conrad, Waldemar, “Der ästhetische Gegenstand 2: Eine phänomenologische Studie,” Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft, 3 (1908), 469–511.Google Scholar
Darwin, Charles, The Descent of Man, and Selection in Relation to Sex, New York: D. Appleton and Company, 1871.Google Scholar
Darwin, Charles, The Expression of the Emotions in Man and Animals, New York: D. Appleton and Company, 1886.Google Scholar
Dufrenne, Mikel, The Phenomenology of Aesthetic Experience, trans. Casey, Edward S., Anderson, Albert A., Domingo, Willis and Jacobson, Leon, Evanston: Northwestern University Press, 1973.Google Scholar
Fetis, Francis James [Fétis, François-Joseph], Music Explained to the World, New York: Da Capo Press, 1967.Google Scholar
Gurney, Edmund, Tertium Quid: Chapters on Various Disputed Questions, London: Kegan Paul, Trench, & Co., 1887.Google Scholar
Hand, Ferdinand, Aesthetics of Musical Art; or, The Beautiful in Music, trans. Lawson, Walter E., London: William Reeves, 1880.Google Scholar
Hanslick, Eduard, On the Musically Beautiful, trans. Payzant, Geoffrey, Indianapolis: Hackett, 1986.Google Scholar
Hegel, George Wilhelm Friedrich, Aesthetics: Lectures on Fine Art, trans. Knox, T. M., Oxford: Clarendon Press, 1975.Google Scholar
Hegel, George Wilhelm Friedrich, Introductory Lectures on Aesthetics, trans. Bosanquet, Bernard, London: Penguin, 1993.Google Scholar
Hegel, George Wilhelm Friedrich, Philosophy of Mind, trans. Wallace, W. and Miller, A. V., Oxford: Clarendon Press, 2007.Google Scholar
Helmholtz, Hermann L. F., On the Sensations of Tone as a Physiological Basis for the Theory of Music, trans. Ellis, Alexander J., New York: Dover Publications, 1954.Google Scholar
Ingarden, Roman, The Work of Music and the Problem of Its Identity, trans. Czerniawski, Adam, Berkeley: University of California Press, 1986.Google Scholar
Jankélévitch, Vladimir, Music and the Ineffable, trans. Abbate, Carolyn, Princeton: Princeton University Press, 2003.Google Scholar
Kierkegaard, Søren, Either/Or, trans. Hong, Howard V. and Hong, Edna H., Princeton: Princeton University Press, 1987.Google Scholar
Langer, Susanne K., Feeling and Form: A Theory of Art Developed from Philosophy in a New Key, London: Routledge and Kegan Paul, 1953.Google Scholar
Langer, Susanne K., Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art, Cambridge, ma: Harvard University Press, 1960.Google Scholar
Lee, Vernon, The Beautiful: An Introduction to Psychological Aesthetics, Cambridge: Cambridge University Press, 1913.Google Scholar
Marx, Karl, Capital: A Critique of Political Economy, trans. Moore, Samuel and Aveling, Edward, New York: International Publishers, 1967.Google Scholar
Nägeli, Hans Georg, Voriesungen über Musik: mit Berücksichtigung der Dilettanten, Stuttgart: J. G. Cotta, 1826.Google Scholar
Nietzsche, Friedrich, Beyond Good and Evil: Prelude to a Philosophy of the Future, trans. Kaufmann, Walter, New York: Random House, 1966.Google Scholar
Nietzsche, Friedrich, Human, All Too Human: A Book for Free Spirits, trans. Harvey, Alexander, Auckland: Floating Press, 2013.Google Scholar
Nietzsche, Friedrich, The Birth of Tragedy and The Case of Wagner, trans. Kaufmann, Walter, New York: Random House, 1967.Google Scholar
Nietzsche, Friedrich, The Gay Science, trans. Kaufmann, Walter, New York: Random House, 1974.Google Scholar
Nietzsche, Friedrich, The Portable Nietzsche, trans. Kaufmann, Walter, Harmondsworth: Penguin, 1976.Google Scholar
Nietzsche, Friedrich, The Will to Power, trans. Kaufmann, Walter and Hollingdale, R. J., New York: Random House, 1968.Google Scholar
Nietzsche, Friedrich, Untimely Meditations, trans. Hollingdale, R. J., Cambridge: Cambridge University Press, 1997.Google Scholar
Pater, Walter, The Renaissance: Studies in Art and Poetry, London: MacMillan and Co., 1897.Google Scholar
Schelling, Friedrich Wilhelm Joseph, System of Transcendental Idealism, trans. Heath, Peter, Charlottesville: University Press of Virginia, 1978.Google Scholar
Schelling, Friedrich Wilhelm Joseph, The Philosophy of Art, trans. Scott, Douglas W., Minneapolis: University of Minnesota Press, 1989.Google Scholar
Schenker, Heinrich, Counterpoint, trans. Rothgeb, John and Thym, Jurgen, New York: Schirmer Books, 1987.Google Scholar
Schenker, Heinrich, The Art of Performance: A Critique of Contemporary Musical Research, trans. Scheier Scott, Irene, New York: Oxford University Press, 2000.Google Scholar
Schopenhauer, Arthur, The World as Will and Representation, trans. Payne, E. F. J., New York: Dover, 1969.Google Scholar
Wagner, Richard, Richard Wagner’s Prose Works, trans. Ellis, William Ashton, London: Kegan Paul, Trench, Trübner & Co., 1895.Google Scholar
Wittgenstein, Ludwig, Culture and Value, trans. Winch, Peter, Oxford: Blackwell, 1998.Google Scholar
Wittgenstein, Ludwig, Notebooks 1914–1916, second edition, trans. Anscombe, G. E. M., Chicago: University of Chicago Press, 1979.Google Scholar
Wittgenstein, Ludwig, Philosophical Investigations, trans. Anscombe, G. E. M., Oxford: Basil Blackwell, 1958.Google Scholar
Wittgenstein, Ludwig, Philosophical Occasions, 1912–1951, Indianapolis: Hackett, 1993.Google Scholar
Wittgenstein, Ludwig, Zettel, trans. Anscombe, G. E. M., Berkeley: University of California Press, 1967.Google Scholar
Ahonen, Hanne, “Wittgenstein and the Conditions of Musical Communication,” Philosophy, 80 (2005), 513–29.Google Scholar
Angelucci, Daniela, “Waldemar Conrad (1878–1915),” in Handbook of Phenomenological Aesthetics, Sepp, Hans Rainer and Embree, Lester (eds), Dordrecht: Springer, 2010, pp. 53–56.Google Scholar
Blackwell, Albert L., “The Role of Music in Schleiermacher’s Writings,” in Internationaler Schleiermacher-Kongress 1984, Selge, Kurt-Victor (ed.), Berlin: Walter de Gruyter, 1984, pp. 141–52.Google Scholar
Bowie, Andrew, “Friedrich Wilhelm Joseph von Schelling,” in The Stanford Encyclopedia of Philosophy (Fall 2016 edition), Zalta, Edward N. (ed.), https://plato.stanford.edu/archives/fall2016/entries/schelling/.Google Scholar
Bujić, Bojan, Music in European Thought: 1851–1912, Cambridge: Cambridge University Press, 1988.Google Scholar
Cochrane, Tom, “Using the Persona to Express Complex Emotions in Music,” Music Analysis, 29 (2010), 264–75.Google Scholar
Cox, Christoph, “Nietzsche, Dionysus, and the Ontology of Music,” in A Companion to Nietzsche, Pearson, Keith Ansell (ed.), Chichester: Wiley-Blackwell, 2009, pp. 495–513.Google Scholar
Croxall, T. H., “Kierkegaard on Music,” Proceedings of the Royal Musical Association, 73 (1946), 1–11.Google Scholar
Forster, Michael, “Friedrich Daniel Ernst Schleiermacher,” in The Stanford Encyclopedia of Philosophy (Fall 2017 edition), Zalta, Edward N. (ed.), https://plato.stanford.edu/archives/fall2017/entries/schleiermacher/.Google Scholar
Gallope, Michael, Kane, Brian, Rings, Steven, Hepokoski, James, Lochhead, Judy, Puri, Michael J. and Currie, James R., “Vladimir Jankélévitch’s Philosophy of Music,” Journal of the American Musicological Association, 65 (2012), 215–56.Google Scholar
Goehr, Lydia, Elective Affinities: Musical Essays on the History of Aesthetic Theory, New York: Columbia University Press, 2008.Google Scholar
Guter, Eran, “Wittgenstein on Musical Experience and Knowledge,” in Papers of the 27th International Wittgenstein Symposia, 2004, http://wittgensteinrepository.org/agora-alws/article/view/2521/2766.Google Scholar
Guyer, Paul, “Formalism around 1800: A Grudging Concession to Aesthetic Sensibility,” Philosophy and Society, 30 (2019), 241–56.Google Scholar
Higgins, Kathleen, “Nietzsche on Music,” Journal of the History of Ideas, 47 (1986), 63–72.Google Scholar
Kim, Alan, “Johann Friedrich Herbart,” in The Stanford Encyclopedia of Philosophy (Winter 2015 edition), Zalta, Edward N. (ed.), https://plato.stanford.edu/archives/win2015/entries/johann-herbart/.Google Scholar
Királyfalvi, Béla, The Aesthetics of György Lukács, Princeton: Princeton University Press, 1975.Google Scholar
Kivy, Peter, “Charles Darwin on Music,” Journal of the American Musicological Society, 12 (1959), 42–48.Google Scholar
McFee, Graham, How to Do Philosophy: A Wittgensteinian Reading of Wittgenstein, Cambridge: Cambridge Scholars Publishing, 2015.Google Scholar
Newcomb, Anthony, “Once More ‘Between Absolute and Program Music’: Schumann’s Second Symphony,” 19th-Century Music, 7 (1984), 233–50.Google Scholar
Norris, Christopher, “Utopian Deconstruction: Ernst Bloch and, Paul de Man and the Politics of Music,” in Music and the Politics of Culture, Norris, Christopher (ed.), London: Lawrence & Wishart, 1989, pp. 305–47.Google Scholar
Paddison, Max, Adorno’s Aesthetics of Music, Cambridge: Cambridge University Press, 1993.Google Scholar
Paddison, Max, “Music as Ideal: The Aesthetics of Autonomy,” in The Cambridge History of Nineteenth-Century Music, Sampson, Jim (ed.), Cambridge: Cambridge University Press, 2001, pp. 318–42.Google Scholar
Payzant, Geoffrey, Hanslick on the Musically Beautiful: Sixteen Lectures on the Musical Aesthetics of Eduard Hanslick, Christchurch, New Zealand: Cybereditions, 2002.Google Scholar
Pritchard, Matthew, “‘A Heap of Broken Images’? Reviving Austro-German Debates over Musical Meaning, 1900–36,” Journal of the Royal Musical Association, 138 (2013), 129–74.Google Scholar
Pritchard, Matthew, “Music in Balance: The Aesthetics of Music after Kant, 1790–1810,” Journal of Musicology, 36 (2019), 39–67.Google Scholar
Rothfarb, Lee, “Nineteenth-Century Fortunes of Musical Formalism,” Journal of Music Theory, 55 (2011), 167–220.Google Scholar
Schueller, Herbert M., “Schelling’s Theory of the Metaphysics of Music,” 15 (1957), 461–76.Google Scholar
Sorgner, Stefan Lorenz and Fürbeth, Oliver (eds), Music in German Philosophy: An Introduction, trans. Gillespie, Susan H., Chicago: University of Chicago Press, 2010.Google Scholar
Wilfring, Alexander, “Hanslick, Kant, and the Origins of Vom Musikalisch-Schönen,” Musicologica Austriaca (2018), www.musau.org/parts/neue-article-page/view/47.Google Scholar
Young, James O., “Literary Fiction and the Cultivation of Virtue,” Croatian Journal of Philosophy, 19 (2019), 315–30.Google Scholar
Zabel, Gary, “Ernst Bloch and the Utopian Dimension in Music,” The Musical Times, 131 (1990), 82–84.Google Scholar
Abbate, Carolyn, Opera and Musical Narrative in the Nineteenth Century, Princeton: Princeton University Press, 1991.Google Scholar
Alperson, Philip, “Music and Morality,” in Ethics and the Arts, Macneill, Paul (ed.), Dordrecht: Springer, 2014, pp. 21–31.Google Scholar
Attali, Jacques, Noise: The Political Economy of Music, trans. Massumi, Brian, Minneapolis: University of Minneapolis Press, 1985.Google Scholar
Beardsley, Monroe C., Aesthetics: Problems in the Philosophy of Criticism, New York: Harcourt, Brace and World, 1958.Google Scholar
Bouwsma, O. K., “The Expression Theory of Art,” in Aesthetics and Language, Elton, William (ed.), Oxford: Basil Blackwell, 1954, pp. 73–99.Google Scholar
Brown, Lee B., “‘Feeling My Way’: Jazz Improvisation and Its Vicissitudes – A Plea for Imperfection,” Journal of Aesthetics and Art Criticism, 58 (2000), 113–23.Google Scholar
Budd, Malcolm, “Music and the Communication of Emotion,” Journal of Aesthetics and Art Criticism, 47 (1989), 129–38.Google Scholar
Budd, Malcolm, Music and the Emotions: The Philosophical Theories, London: Routledge and Kegan Paul, 1985.Google Scholar
Caplan, Ben and Matheson, Carl, “Defending Musical Perdurantism,” British Journal of Aesthetics, 46 (2006), 59–69.Google Scholar
Cone, Edward T., The Composer’s Voice, Berkeley: University of California Press, 1974.Google Scholar
Davies, David, “The Dialogue between Words and Music in the Composition and Comprehension of Song,” Journal of Aesthetics and Art Criticism, 71 (2013), 13–22.Google Scholar
Davies, Stephen, Musical Meaning and Expression, Ithaca: Cornell University Press, 1994.Google Scholar
Davies, Stephen, Musical Understandings and Other Essays on the Philosophy of Music, Oxford: Oxford University Press, 2011.Google Scholar
Davies, Stephen, Musical Works and Performances: A Philosophical Exploration, Oxford: Clarendon Press, 2001.Google Scholar
Davies, Stephen, Themes in the Philosophy of Music, Oxford: Oxford University Press, 2003.Google Scholar
Deleuze, Gilles, Difference and Repetition, trans. Batton, Paul, London: Continuum, 1994.Google Scholar
Deleuze, Gilles and Guattari, Félix, A Thousand Plateaus: Capitalism and Schizophrenia, trans. Massumi, Brian, Minneapolis: University of Minnesota Press, 1987.Google Scholar
Dodd, Julian, “Upholding Standards: A Realist Ontology of Standard Form Jazz,” Journal of Aesthetics and Art Criticism, 72 (2014), 277–90.Google Scholar
Dodd, Julian, Works of Music: An Essay in Ontology, Oxford: Oxford University Press, 2007.Google Scholar
Fried, Rona and Berkowitz, Leonard, “Music Hath Charms … and Can Influence Helpfulness,” Journal of Applied Social Psychology, 9 (1979), 199–208.Google Scholar
Goehr, Lydia, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, Oxford: Clarendon Press, 1992.Google Scholar
Goldman, Alan, “The Value of Music,” Journal of Aesthetics and Art Criticism, 50 (1992), 35–44.Google Scholar
Goodman, Nelson, Languages of Art: An Approach to a Theory of Symbols, Indianapolis: Hackett, 1976.Google Scholar
Göttner-Abendroth, Heide, The Dancing Goddess: Principles of a Matriarchal Aesthetic, Boston: Beacon Press, 1991.Google Scholar
Gracyk, Theodore, Listening to Popular Music, or How I Learned to Stop Worrying and Love Led Zepplin, Ann Arbor: University of Michigan Press, 2007.Google Scholar
Gracyk, Theodore, Rhythm and Noise: An Aesthetics of Rock, Durham: Duke University Press, 1996.Google Scholar
Grout, Donald Jay and Williams, Hermine Weigel, A Short History of Opera, fourth edition, New York: Columbia University Press, 2003.Google Scholar
Guter, Eran, “Wittgenstein on Musical Experience and Knowledge,” in Papers of the 27th International Wittgenstein Symposia, 2004, http://wittgensteinrepository.org/agora-alws/article/view/2521/2766.Google Scholar
Hamilton, Andy, “Rhythm and Stasis: A Major and Almost Entirely Neglected Philosophical Problem,” Proceedings of the Aristotelian Society, n.s. 111 (2011), 25–42.Google Scholar
Hamilton, Andy, “The Art of Improvisation and the Aesthetics of Imperfection,” British Journal of Aesthetics, 40 (2000), 168–85.Google Scholar
Hospers, John, “The Concept of Artistic Expression,” Proceedings of the Aristotelian Society, n.s. 55 (1954–55), 313–44.Google Scholar
Huron, David, “Why Is Sad Music Pleasurable? A Possible Role for Prolactin,” Musicae Scientiae, 15 (2011), 146–58.Google Scholar
Huron, David and Vuoskoski, Jonna K., “On the Enjoyment of Sad Music: Pleasurable Compassion Theory and the Role of Trait Empathy,” Frontiers in Psychology, 11 (2020), article 1060, https://doi.org/10.3389/fpsyg.2020.01060.Google Scholar
Juslin, Patrik N. and Laukka, Petri, “Communication of Emotions in Vocal Expression and Music Performance: Different Channels, Same Code?” Psychological Bulletin, 129 (2003), 770–814.Google Scholar
Kania, Andrew, “All Play and No Work: An Ontology of Jazz,” Journal of Aesthetics and Art Criticism, 69 (2011), 391–403.Google Scholar
Kania, Andrew, “The Methodology of Musical Ontology: Descriptivism and Its Implications,” British Journal of Aesthetics, 48 (2008), 426–44.Google Scholar
Killin, Anton, “Fictionalism about Musical Works,” Canadian Journal of Philosophy, 48 (2018), 266–91.Google Scholar
Kivy, Peter, “Another Go at Musical Profundity: Stephen Davies and the Game of Chess,” British Journal of Aesthetics, 43 (2003), 401–11.Google Scholar
Kivy, Peter, Antithetical Arts: On the Ancient Quarrel between Literature and Music, Oxford: Clarendon Press, 2009.Google Scholar
Kivy, Peter, “Art and Music: Some Reflections for Noël Carroll,” Journal of Aesthetics and Art Criticism, 64 (2006), 271–81.Google Scholar
Kivy, Peter, Authenticities: Philosophical Reflections on Musical Performance, Ithaca: Cornell University Press, 1995.Google Scholar
Kivy, Peter, “Critical Study: Deeper than Reason,” British Journal of Aesthetics, 46 (2006), 300–01.Google Scholar
Kivy, Peter, De Gustibus: Arguing and Taste and Why We Do It, Oxford: Oxford University Press, 2015.Google Scholar
Kivy, Peter, “Mood and Music: Some Reflections for Noël Carroll,” Journal of Aesthetics and Art Criticism, 64 (2006), 271–81.Google Scholar
Kivy, Peter, Music Alone: Philosophical Reflections on the Purely Musical Experience, Ithaca: Cornell University Press, 1990.Google Scholar
Kivy, Peter, Osmin’s Rage: Philosophical Reflections on Opera, Drama, and Text, with a New Final Chapter, Ithaca: Cornell University Press, 1999.Google Scholar
Kivy, Peter, Philosophies of Arts: An Essay in Differences, Cambridge: Cambridge University Press, 1997.Google Scholar
Kivy, Peter, Sound and Semblance: Reflections on Musical Representation, Princeton: Princeton University Press, 1984.Google Scholar
Kivy, Peter, Sounding Off: Eleven Essays in the Philosophy of Music, Oxford: Oxford University Press, 2012.Google Scholar
Kivy, Peter, Sound Sentiment: An Essay on the Musical Emotions Including the Complete Text of the Corded Shell, Philadelphia: Temple University Press, 1989.Google Scholar
Krumhansl, Carol C., “An Exploratory Study of Musical Emotions and Psychophysiology,” Canadian Journal of Experimental Psychology, 51 (1997), 336–52.Google Scholar
Ladinig, Olivia, Brooks, Charles, Hanse, Niels Chr., Horn, Katelyn and Huron, David, “Enjoying Sad Music: A Test of the Prolactin Theory,” Musicae Scientiae, 20 (2019), 1–20.Google Scholar
Levinson, Jerrold, Contemplating Art: Essays in Aesthetics, Oxford: Oxford University Press, 2006.Google Scholar
Levinson, Jerrold, Music, Art, and Metaphysics: Essays in Philosophical Aesthetics, Ithaca: Cornell University Press, 1990.Google Scholar
Levinson, Jerrold, Musical Concerns: Essays in Philosophy of Music, Oxford: Oxford University Press, 2015.Google Scholar
Levinson, Jerrold, “Musical Profundity Misplaced,” Journal of Aesthetics and Art Criticism, 50 (1992), 58–60.Google Scholar
Levinson, Jerrold, The Pleasures of Aesthetics: Philosophical Essays, Ithaca: Cornell University Press, 1996.Google Scholar
Lévi-Strauss, Claude, The Naked Man, trans. , John and Weightman, Doreen, New York: Harper and Row, 1971.Google Scholar
Loersch, Chris and Arbuckle, Nathan L., “Unraveling the Mystery of Music: Music as an Evolved Group Process,” Journal of Personality and Social Psychology, 105 (2013), 777–98.Google Scholar
McClary, Susan, Feminine Endings: Music Gender, and Sexuality, Minneapolis: University of Minnesota Press, 1991.Google Scholar
Meyer, Leonard B., Emotion and Meaning in Music, Chicago: University of Chicago Press, 1956.Google Scholar
North, Adrian C., Tarrant, Mark and Hargreaves, David J., “The Effects of Music on Helping Behavior: A Field Study,” Environment and Behavior, 26 (2004), 266–75.Google Scholar
Nussbaum, Charles O., The Musical Representation: Meaning, Ontology, and Emotion, Cambridge, ma: MIT Press, 2007.Google Scholar
Pastötter, Bernhard, Gleixner, Sabine, Neuhauser, Theresa and Bäuml, Karl-Heinz T., “To Push or Not to Push? Affective Influences on Moral Judgement Depend on Decision Frame,” Cognition, 126 (2013), 373–77.Google Scholar
Prieto, Eric, “Deleuze, Music, and Modernist Mimesis,” in Essays on Music and the Spoken Word and on Surveying the Field, Lodato, Suzanne M. and Urrows, David Francis (eds), Amsterdam: Rodopi, 1994, pp. 3–20.Google Scholar
Ridley, Aaron, “Profundity in Music,” in Arguing about Art: Contemporary Philosophical Debates, Neill, Alex and Ridley, Aaron (eds), New York: McGraw-Hill, 1995, pp. 260–70.Google Scholar
Robinson, Jenefer, Deeper than Reason: Emotion and Its Role in Literature, Music, and Art, Oxford: Clarendon Press, 2005.Google Scholar
Robinson, Jenefer, “Music and Emotion,” Journal of Literary Theory, 1 (2007), 395–419.Google Scholar
Robinson, Jenefer and Hatten, Robert, “Emotions in Music,” Music Theory Spectrum, 34 (2012), 71–106.Google Scholar
Scruton, Roger, Understanding Music: Philosophy and Interpretation, London: Continuum, 2009.Google Scholar
Seidel, Angelika and Prinz, Jesse, “Mad and Glad: Musically Induced Emotions Have Divergent Impact on Morals,” Motivation and Emotion, 37 (2013), 629–37.Google Scholar
Sizer, Laura, “Sad Songs Say So Much: The Paradoxical Pleasures of Sad Music,” Journal of Aesthetics and Art Criticism, 77 (2019), 255–66.Google Scholar
Steinbeis, Nikolaus, Koelsch, Stefan and Sloboda, John A., “The Role of Harmonic Expectancy Violations in Musical Emotions: Evidence from Subjective, Physiological, and Neural Responses,” Journal of Cognitive Neuroscience, 18 (2006), 1380–93.Google Scholar
Taruffi, Liila and Koelsch, Stefan, “The Paradox of Music-Evoked Sadness: An Online Survey,” PLoS ONE, 9 (2014), https://doi.org/10.1371/journal.pone.0110490.Google Scholar
Taruffi, Liila, Pehrs, Corinna, Skouras, Stavros and Koelsch, Stefan, “Effects of Sad and Happy Music on Mind-Wandering and the Default Mode Network.” Scientific Reports, 7 (2017), 14396, https://doi.org/10.1038/s41598-017-14849-0.Google Scholar
Thom, Paul, For an Audience: A Philosophy of the Performing Arts, Philadelphia: Temple University Press, 1995.Google Scholar
Vuoskoski, K. Jonna and Eerola, Tuomas “Can Sad Music Really Make You Sad? Indirect Measures of Affective States Induced by Music and Autobiographical Memories,” Psychology of Aesthetics, Creativity, and the Arts, 6 (2012), 204–13.Google Scholar
Walton, Kendall, “Listening with Imagination: Is Music Representational?” Journal of Aesthetics and Art Criticism, 52 (1994), 47–61.Google Scholar
Walton, Kendall, Mimesis as Make-Believe: On the Foundations of the Representational Arts, Cambridge, ma: Harvard University Press, 1990.Google Scholar
Wollheim, Richard, Art and Its Objects, second edition, Cambridge: Cambridge University Press, 1980.Google Scholar
Young, James O., “Empiricism and the Ontology of Jazz,” Revista Portuguesa de Filosofia, 74 (2018), 1255–66.Google Scholar
Young, James O., “The Ontology of Musical Works: A Philosophical Pseudo-Problem,” Frontiers of Philosophy in China, 6 (2011), 284–97.Google Scholar
Young, James O. and Matheson, Carl, “The Metaphysics of Jazz,” Journal of Aesthetics and Art Criticism, 58 (2000), 143–48.Google Scholar
Zangwill, Nick, “Against Emotion: Hanslick Was Right about Music,” British Journal of Aesthetics, 44 (2004), 29–43.Google Scholar
Zangwill, Nick, Music and Aesthetic Reality: Formalism and the Limits of Description, London: Routledge, 2015.Google Scholar
Zangwill, Nick, “Music, Essential Metaphor, and Private Language,” American Philosophical Quarterly, 48 (2011), 1–16.Google Scholar
Zangwill, Nick, “Music, Metaphor and Emotion,” Journal of Aesthetics and Art Criticism, 65 (2007), 391–400.Google Scholar
Bonds, Mark Evan, Absolute Music: The History of an Idea, Oxford: Oxford University Press, 2014.Google Scholar
Bowman, Wayne D., Philosophical Perspectives on Music, Oxford: Oxford University Press, 1998.Google Scholar
Dahlhaus, Carl, Esthetics of Music, trans. Austin, William W., Cambridge: Cambridge University Press, 1967.Google Scholar
Gallope, Michael, Deep Refrains: Music, Philosophy, and the Ineffable, Chicago: University of Chicago Press, 2017.Google Scholar
Godwin, Joscelyn (ed.), The Harmony of the Spheres: A Sourcebook of the Pythagorean Tradition, Rochester: Inner Traditions International.Google Scholar
Gracyk, Theodore and Kania, Andrew (eds), The Routledge Companion to Philosophy and Music, London: Routledge, 2011.Google Scholar
Kania, Andrew, Philosophy of Western Music: A Contemporary Introduction, New York: Routledge, 2020.Google Scholar
Kania, Andrew, “The Philosophy of Music,” in The Stanford Encyclopedia of Philosophy (Fall 2017 edition), Zalta, Edward N. (ed.), https://plato.stanford.edu/archives/fall2017/entries/music/.Google Scholar
Katz, Ruth and Dahlhaus, Carl (eds), Contemplating Music: Source Readings in the Aesthetics of Music, Stuyvesant: Pendragon Press, 1986.Google Scholar
Lippman, Edward, A History of Western Musical Aesthetics, Lincoln: University of Nebraska Press, 1992.Google Scholar
Lippman, Edward A. (ed.), Musical Aesthetics: An Historical Reader, Stuyvesant: Pendragon Press, 1986.Google Scholar
Martinelli, Riccardo, Philosophy of Music: A History, trans. De Sanctis, Sarah, Berlin: De Gruyter.Google Scholar
Schueller, Herbert M., The Idea of Music: An Introduction to Musical Aesthetics in Antiquity and the Middle Ages, Kalamazoo: Medieval Institute Publications, 1988.Google Scholar
Strunk, Oliver (ed.), Source Readings in Music History: From Classical Antiquity through the Romantic Era, New York: W. W. Norton & Company, 1998.Google Scholar
Taruskin, Richard, Oxford History of Western Music, Oxford: Oxford University Press, 2009.Google Scholar
Adorno, Theodor W., Aesthetic Theory, trans. Hullot-Kentor, Robert, London: Bloomsbury, 2013.Google Scholar
Adorno, Theodor W., Essays on Music, trans. Gillespie, Susan H., Berkeley: University of California Press, 2002.Google Scholar
Adorno, Theodor W., Introduction to the Sociology of Music, trans. Ashton, E. B., New York: Seabury Press, 1976.Google Scholar
Adorno, Theodor W., “Music, Language, and Composition,” The Musical Quarterly, 77 (1993), 401–14.Google Scholar
Adorno, Theodor W., Negative Dialectics, trans. Ashton, E. B., New York: Continuum, 1973.Google Scholar
Adorno, Theodor W., Philosophy of New Music, trans. Hullot-Kentor, Robert, Minneapolis: University of Minnesota Press, 2006.Google Scholar
Adorno, Theodor W., Quasi una Fantasia: Essays on Modern Music, trans. Livingstone, Rodney, London: Verso, 1998.Google Scholar
Ambros, Wilhelm August, The Boundaries of Music and Poetry, New York: G. Schirmer, 1893.Google Scholar
Berg, Alban, “The Problem of Opera,” in Classic Essays on Twentieth-Century Music: A Continuing Symposium, Kostelanetz, Richard and Darby, Joseph (eds), New York: Schirmer Books, 1996, pp. 277–79.Google Scholar
Berlioz, Hector, The Life of Hector Berlioz as Written by Himself in His Letters & Memoirs, trans. Boult, Katherine F., London: J. M. Dent & Sons, n.d.Google Scholar
Bloch, Ernst, Essays on the Philosophy of Music, trans. Palmer, Peter, Cambridge: Cambridge University Press, 1974.Google Scholar
Bloch, Ernst, The Principle of Hope, trans. Plaice, Neville, Plaice, Stephen and Knight, Paul, Oxford: Basil Blackwell, 1986.Google Scholar
Bloch, Ernst, The Spirit of Utopia, trans. Nassar, Anthony A., Stanford: Stanford University Press, 2000.Google Scholar
Britan, Halbert Hains, The Philosophy of Music: A Comparative Investigation into the Principles of Musical Aesthetics, New York: Longmans, Green, and Co., 1911.Google Scholar
Conrad, Waldemar, “Der ästhetische Gegenstand 1: Eine phänomenologische Studie,” Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft, 3 (1908), 71–118.Google Scholar
Conrad, Waldemar, “Der ästhetische Gegenstand 2: Eine phänomenologische Studie,” Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft, 3 (1908), 469–511.Google Scholar
Darwin, Charles, The Descent of Man, and Selection in Relation to Sex, New York: D. Appleton and Company, 1871.Google Scholar
Darwin, Charles, The Expression of the Emotions in Man and Animals, New York: D. Appleton and Company, 1886.Google Scholar
Dufrenne, Mikel, The Phenomenology of Aesthetic Experience, trans. Casey, Edward S., Anderson, Albert A., Domingo, Willis and Jacobson, Leon, Evanston: Northwestern University Press, 1973.Google Scholar
Fetis, Francis James [Fétis, François-Joseph], Music Explained to the World, New York: Da Capo Press, 1967.Google Scholar
Gurney, Edmund, Tertium Quid: Chapters on Various Disputed Questions, London: Kegan Paul, Trench, & Co., 1887.Google Scholar
Hand, Ferdinand, Aesthetics of Musical Art; or, The Beautiful in Music, trans. Lawson, Walter E., London: William Reeves, 1880.Google Scholar
Hanslick, Eduard, On the Musically Beautiful, trans. Payzant, Geoffrey, Indianapolis: Hackett, 1986.Google Scholar
Hegel, George Wilhelm Friedrich, Aesthetics: Lectures on Fine Art, trans. Knox, T. M., Oxford: Clarendon Press, 1975.Google Scholar
Hegel, George Wilhelm Friedrich, Introductory Lectures on Aesthetics, trans. Bosanquet, Bernard, London: Penguin, 1993.Google Scholar
Hegel, George Wilhelm Friedrich, Philosophy of Mind, trans. Wallace, W. and Miller, A. V., Oxford: Clarendon Press, 2007.Google Scholar
Helmholtz, Hermann L. F., On the Sensations of Tone as a Physiological Basis for the Theory of Music, trans. Ellis, Alexander J., New York: Dover Publications, 1954.Google Scholar
Ingarden, Roman, The Work of Music and the Problem of Its Identity, trans. Czerniawski, Adam, Berkeley: University of California Press, 1986.Google Scholar
Jankélévitch, Vladimir, Music and the Ineffable, trans. Abbate, Carolyn, Princeton: Princeton University Press, 2003.Google Scholar
Kierkegaard, Søren, Either/Or, trans. Hong, Howard V. and Hong, Edna H., Princeton: Princeton University Press, 1987.Google Scholar
Langer, Susanne K., Feeling and Form: A Theory of Art Developed from Philosophy in a New Key, London: Routledge and Kegan Paul, 1953.Google Scholar
Langer, Susanne K., Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art, Cambridge, ma: Harvard University Press, 1960.Google Scholar
Lee, Vernon, The Beautiful: An Introduction to Psychological Aesthetics, Cambridge: Cambridge University Press, 1913.Google Scholar
Marx, Karl, Capital: A Critique of Political Economy, trans. Moore, Samuel and Aveling, Edward, New York: International Publishers, 1967.Google Scholar
Nägeli, Hans Georg, Voriesungen über Musik: mit Berücksichtigung der Dilettanten, Stuttgart: J. G. Cotta, 1826.Google Scholar
Nietzsche, Friedrich, Beyond Good and Evil: Prelude to a Philosophy of the Future, trans. Kaufmann, Walter, New York: Random House, 1966.Google Scholar
Nietzsche, Friedrich, Human, All Too Human: A Book for Free Spirits, trans. Harvey, Alexander, Auckland: Floating Press, 2013.Google Scholar
Nietzsche, Friedrich, The Birth of Tragedy and The Case of Wagner, trans. Kaufmann, Walter, New York: Random House, 1967.Google Scholar
Nietzsche, Friedrich, The Gay Science, trans. Kaufmann, Walter, New York: Random House, 1974.Google Scholar
Nietzsche, Friedrich, The Portable Nietzsche, trans. Kaufmann, Walter, Harmondsworth: Penguin, 1976.Google Scholar
Nietzsche, Friedrich, The Will to Power, trans. Kaufmann, Walter and Hollingdale, R. J., New York: Random House, 1968.Google Scholar
Nietzsche, Friedrich, Untimely Meditations, trans. Hollingdale, R. J., Cambridge: Cambridge University Press, 1997.Google Scholar
Pater, Walter, The Renaissance: Studies in Art and Poetry, London: MacMillan and Co., 1897.Google Scholar
Schelling, Friedrich Wilhelm Joseph, System of Transcendental Idealism, trans. Heath, Peter, Charlottesville: University Press of Virginia, 1978.Google Scholar
Schelling, Friedrich Wilhelm Joseph, The Philosophy of Art, trans. Scott, Douglas W., Minneapolis: University of Minnesota Press, 1989.Google Scholar
Schenker, Heinrich, Counterpoint, trans. Rothgeb, John and Thym, Jurgen, New York: Schirmer Books, 1987.Google Scholar
Schenker, Heinrich, The Art of Performance: A Critique of Contemporary Musical Research, trans. Scheier Scott, Irene, New York: Oxford University Press, 2000.Google Scholar
Schopenhauer, Arthur, The World as Will and Representation, trans. Payne, E. F. J., New York: Dover, 1969.Google Scholar
Wagner, Richard, Richard Wagner’s Prose Works, trans. Ellis, William Ashton, London: Kegan Paul, Trench, Trübner & Co., 1895.Google Scholar
Wittgenstein, Ludwig, Culture and Value, trans. Winch, Peter, Oxford: Blackwell, 1998.Google Scholar
Wittgenstein, Ludwig, Notebooks 1914–1916, second edition, trans. Anscombe, G. E. M., Chicago: University of Chicago Press, 1979.Google Scholar
Wittgenstein, Ludwig, Philosophical Investigations, trans. Anscombe, G. E. M., Oxford: Basil Blackwell, 1958.Google Scholar
Wittgenstein, Ludwig, Philosophical Occasions, 1912–1951, Indianapolis: Hackett, 1993.Google Scholar
Wittgenstein, Ludwig, Zettel, trans. Anscombe, G. E. M., Berkeley: University of California Press, 1967.Google Scholar
Ahonen, Hanne, “Wittgenstein and the Conditions of Musical Communication,” Philosophy, 80 (2005), 513–29.Google Scholar
Angelucci, Daniela, “Waldemar Conrad (1878–1915),” in Handbook of Phenomenological Aesthetics, Sepp, Hans Rainer and Embree, Lester (eds), Dordrecht: Springer, 2010, pp. 53–56.Google Scholar
Blackwell, Albert L., “The Role of Music in Schleiermacher’s Writings,” in Internationaler Schleiermacher-Kongress 1984, Selge, Kurt-Victor (ed.), Berlin: Walter de Gruyter, 1984, pp. 141–52.Google Scholar
Bowie, Andrew, “Friedrich Wilhelm Joseph von Schelling,” in The Stanford Encyclopedia of Philosophy (Fall 2016 edition), Zalta, Edward N. (ed.), https://plato.stanford.edu/archives/fall2016/entries/schelling/.Google Scholar
Bujić, Bojan, Music in European Thought: 1851–1912, Cambridge: Cambridge University Press, 1988.Google Scholar
Cochrane, Tom, “Using the Persona to Express Complex Emotions in Music,” Music Analysis, 29 (2010), 264–75.Google Scholar
Cox, Christoph, “Nietzsche, Dionysus, and the Ontology of Music,” in A Companion to Nietzsche, Pearson, Keith Ansell (ed.), Chichester: Wiley-Blackwell, 2009, pp. 495–513.Google Scholar
Croxall, T. H., “Kierkegaard on Music,” Proceedings of the Royal Musical Association, 73 (1946), 1–11.Google Scholar
Forster, Michael, “Friedrich Daniel Ernst Schleiermacher,” in The Stanford Encyclopedia of Philosophy (Fall 2017 edition), Zalta, Edward N. (ed.), https://plato.stanford.edu/archives/fall2017/entries/schleiermacher/.Google Scholar
Gallope, Michael, Kane, Brian, Rings, Steven, Hepokoski, James, Lochhead, Judy, Puri, Michael J. and Currie, James R., “Vladimir Jankélévitch’s Philosophy of Music,” Journal of the American Musicological Association, 65 (2012), 215–56.Google Scholar
Goehr, Lydia, Elective Affinities: Musical Essays on the History of Aesthetic Theory, New York: Columbia University Press, 2008.Google Scholar
Guter, Eran, “Wittgenstein on Musical Experience and Knowledge,” in Papers of the 27th International Wittgenstein Symposia, 2004, http://wittgensteinrepository.org/agora-alws/article/view/2521/2766.Google Scholar
Guyer, Paul, “Formalism around 1800: A Grudging Concession to Aesthetic Sensibility,” Philosophy and Society, 30 (2019), 241–56.Google Scholar
Higgins, Kathleen, “Nietzsche on Music,” Journal of the History of Ideas, 47 (1986), 63–72.Google Scholar
Kim, Alan, “Johann Friedrich Herbart,” in The Stanford Encyclopedia of Philosophy (Winter 2015 edition), Zalta, Edward N. (ed.), https://plato.stanford.edu/archives/win2015/entries/johann-herbart/.Google Scholar
Királyfalvi, Béla, The Aesthetics of György Lukács, Princeton: Princeton University Press, 1975.Google Scholar
Kivy, Peter, “Charles Darwin on Music,” Journal of the American Musicological Society, 12 (1959), 42–48.Google Scholar
McFee, Graham, How to Do Philosophy: A Wittgensteinian Reading of Wittgenstein, Cambridge: Cambridge Scholars Publishing, 2015.Google Scholar
Newcomb, Anthony, “Once More ‘Between Absolute and Program Music’: Schumann’s Second Symphony,” 19th-Century Music, 7 (1984), 233–50.Google Scholar
Norris, Christopher, “Utopian Deconstruction: Ernst Bloch and, Paul de Man and the Politics of Music,” in Music and the Politics of Culture, Norris, Christopher (ed.), London: Lawrence & Wishart, 1989, pp. 305–47.Google Scholar
Paddison, Max, Adorno’s Aesthetics of Music, Cambridge: Cambridge University Press, 1993.Google Scholar
Paddison, Max, “Music as Ideal: The Aesthetics of Autonomy,” in The Cambridge History of Nineteenth-Century Music, Sampson, Jim (ed.), Cambridge: Cambridge University Press, 2001, pp. 318–42.Google Scholar
Payzant, Geoffrey, Hanslick on the Musically Beautiful: Sixteen Lectures on the Musical Aesthetics of Eduard Hanslick, Christchurch, New Zealand: Cybereditions, 2002.Google Scholar
Pritchard, Matthew, “‘A Heap of Broken Images’? Reviving Austro-German Debates over Musical Meaning, 1900–36,” Journal of the Royal Musical Association, 138 (2013), 129–74.Google Scholar
Pritchard, Matthew, “Music in Balance: The Aesthetics of Music after Kant, 1790–1810,” Journal of Musicology, 36 (2019), 39–67.Google Scholar
Rothfarb, Lee, “Nineteenth-Century Fortunes of Musical Formalism,” Journal of Music Theory, 55 (2011), 167–220.Google Scholar
Schueller, Herbert M., “Schelling’s Theory of the Metaphysics of Music,” 15 (1957), 461–76.Google Scholar
Sorgner, Stefan Lorenz and Fürbeth, Oliver (eds), Music in German Philosophy: An Introduction, trans. Gillespie, Susan H., Chicago: University of Chicago Press, 2010.Google Scholar
Wilfring, Alexander, “Hanslick, Kant, and the Origins of Vom Musikalisch-Schönen,” Musicologica Austriaca (2018), www.musau.org/parts/neue-article-page/view/47.Google Scholar
Young, James O., “Literary Fiction and the Cultivation of Virtue,” Croatian Journal of Philosophy, 19 (2019), 315–30.Google Scholar
Zabel, Gary, “Ernst Bloch and the Utopian Dimension in Music,” The Musical Times, 131 (1990), 82–84.Google Scholar
Abbate, Carolyn, Opera and Musical Narrative in the Nineteenth Century, Princeton: Princeton University Press, 1991.Google Scholar
Alperson, Philip, “Music and Morality,” in Ethics and the Arts, Macneill, Paul (ed.), Dordrecht: Springer, 2014, pp. 21–31.Google Scholar
Attali, Jacques, Noise: The Political Economy of Music, trans. Massumi, Brian, Minneapolis: University of Minneapolis Press, 1985.Google Scholar
Beardsley, Monroe C., Aesthetics: Problems in the Philosophy of Criticism, New York: Harcourt, Brace and World, 1958.Google Scholar
Bouwsma, O. K., “The Expression Theory of Art,” in Aesthetics and Language, Elton, William (ed.), Oxford: Basil Blackwell, 1954, pp. 73–99.Google Scholar
Brown, Lee B., “‘Feeling My Way’: Jazz Improvisation and Its Vicissitudes – A Plea for Imperfection,” Journal of Aesthetics and Art Criticism, 58 (2000), 113–23.Google Scholar
Budd, Malcolm, “Music and the Communication of Emotion,” Journal of Aesthetics and Art Criticism, 47 (1989), 129–38.Google Scholar
Budd, Malcolm, Music and the Emotions: The Philosophical Theories, London: Routledge and Kegan Paul, 1985.Google Scholar
Caplan, Ben and Matheson, Carl, “Defending Musical Perdurantism,” British Journal of Aesthetics, 46 (2006), 59–69.Google Scholar
Cone, Edward T., The Composer’s Voice, Berkeley: University of California Press, 1974.Google Scholar
Davies, David, “The Dialogue between Words and Music in the Composition and Comprehension of Song,” Journal of Aesthetics and Art Criticism, 71 (2013), 13–22.Google Scholar
Davies, Stephen, Musical Meaning and Expression, Ithaca: Cornell University Press, 1994.Google Scholar
Davies, Stephen, Musical Understandings and Other Essays on the Philosophy of Music, Oxford: Oxford University Press, 2011.Google Scholar
Davies, Stephen, Musical Works and Performances: A Philosophical Exploration, Oxford: Clarendon Press, 2001.Google Scholar
Davies, Stephen, Themes in the Philosophy of Music, Oxford: Oxford University Press, 2003.Google Scholar
Deleuze, Gilles, Difference and Repetition, trans. Batton, Paul, London: Continuum, 1994.Google Scholar
Deleuze, Gilles and Guattari, Félix, A Thousand Plateaus: Capitalism and Schizophrenia, trans. Massumi, Brian, Minneapolis: University of Minnesota Press, 1987.Google Scholar
Dodd, Julian, “Upholding Standards: A Realist Ontology of Standard Form Jazz,” Journal of Aesthetics and Art Criticism, 72 (2014), 277–90.Google Scholar
Dodd, Julian, Works of Music: An Essay in Ontology, Oxford: Oxford University Press, 2007.Google Scholar
Fried, Rona and Berkowitz, Leonard, “Music Hath Charms … and Can Influence Helpfulness,” Journal of Applied Social Psychology, 9 (1979), 199–208.Google Scholar
Goehr, Lydia, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, Oxford: Clarendon Press, 1992.Google Scholar
Goldman, Alan, “The Value of Music,” Journal of Aesthetics and Art Criticism, 50 (1992), 35–44.Google Scholar
Goodman, Nelson, Languages of Art: An Approach to a Theory of Symbols, Indianapolis: Hackett, 1976.Google Scholar
Göttner-Abendroth, Heide, The Dancing Goddess: Principles of a Matriarchal Aesthetic, Boston: Beacon Press, 1991.Google Scholar
Gracyk, Theodore, Listening to Popular Music, or How I Learned to Stop Worrying and Love Led Zepplin, Ann Arbor: University of Michigan Press, 2007.Google Scholar
Gracyk, Theodore, Rhythm and Noise: An Aesthetics of Rock, Durham: Duke University Press, 1996.Google Scholar
Grout, Donald Jay and Williams, Hermine Weigel, A Short History of Opera, fourth edition, New York: Columbia University Press, 2003.Google Scholar
Guter, Eran, “Wittgenstein on Musical Experience and Knowledge,” in Papers of the 27th International Wittgenstein Symposia, 2004, http://wittgensteinrepository.org/agora-alws/article/view/2521/2766.Google Scholar
Hamilton, Andy, “Rhythm and Stasis: A Major and Almost Entirely Neglected Philosophical Problem,” Proceedings of the Aristotelian Society, n.s. 111 (2011), 25–42.Google Scholar
Hamilton, Andy, “The Art of Improvisation and the Aesthetics of Imperfection,” British Journal of Aesthetics, 40 (2000), 168–85.Google Scholar
Hospers, John, “The Concept of Artistic Expression,” Proceedings of the Aristotelian Society, n.s. 55 (1954–55), 313–44.Google Scholar
Huron, David, “Why Is Sad Music Pleasurable? A Possible Role for Prolactin,” Musicae Scientiae, 15 (2011), 146–58.Google Scholar
Huron, David and Vuoskoski, Jonna K., “On the Enjoyment of Sad Music: Pleasurable Compassion Theory and the Role of Trait Empathy,” Frontiers in Psychology, 11 (2020), article 1060, https://doi.org/10.3389/fpsyg.2020.01060.Google Scholar
Juslin, Patrik N. and Laukka, Petri, “Communication of Emotions in Vocal Expression and Music Performance: Different Channels, Same Code?” Psychological Bulletin, 129 (2003), 770–814.Google Scholar
Kania, Andrew, “All Play and No Work: An Ontology of Jazz,” Journal of Aesthetics and Art Criticism, 69 (2011), 391–403.Google Scholar
Kania, Andrew, “The Methodology of Musical Ontology: Descriptivism and Its Implications,” British Journal of Aesthetics, 48 (2008), 426–44.Google Scholar
Killin, Anton, “Fictionalism about Musical Works,” Canadian Journal of Philosophy, 48 (2018), 266–91.Google Scholar
Kivy, Peter, “Another Go at Musical Profundity: Stephen Davies and the Game of Chess,” British Journal of Aesthetics, 43 (2003), 401–11.Google Scholar
Kivy, Peter, Antithetical Arts: On the Ancient Quarrel between Literature and Music, Oxford: Clarendon Press, 2009.Google Scholar
Kivy, Peter, “Art and Music: Some Reflections for Noël Carroll,” Journal of Aesthetics and Art Criticism, 64 (2006), 271–81.Google Scholar
Kivy, Peter, Authenticities: Philosophical Reflections on Musical Performance, Ithaca: Cornell University Press, 1995.Google Scholar
Kivy, Peter, “Critical Study: Deeper than Reason,” British Journal of Aesthetics, 46 (2006), 300–01.Google Scholar
Kivy, Peter, De Gustibus: Arguing and Taste and Why We Do It, Oxford: Oxford University Press, 2015.Google Scholar
Kivy, Peter, “Mood and Music: Some Reflections for Noël Carroll,” Journal of Aesthetics and Art Criticism, 64 (2006), 271–81.Google Scholar
Kivy, Peter, Music Alone: Philosophical Reflections on the Purely Musical Experience, Ithaca: Cornell University Press, 1990.Google Scholar
Kivy, Peter, Osmin’s Rage: Philosophical Reflections on Opera, Drama, and Text, with a New Final Chapter, Ithaca: Cornell University Press, 1999.Google Scholar
Kivy, Peter, Philosophies of Arts: An Essay in Differences, Cambridge: Cambridge University Press, 1997.Google Scholar
Kivy, Peter, Sound and Semblance: Reflections on Musical Representation, Princeton: Princeton University Press, 1984.Google Scholar
Kivy, Peter, Sounding Off: Eleven Essays in the Philosophy of Music, Oxford: Oxford University Press, 2012.Google Scholar
Kivy, Peter, Sound Sentiment: An Essay on the Musical Emotions Including the Complete Text of the Corded Shell, Philadelphia: Temple University Press, 1989.Google Scholar
Krumhansl, Carol C., “An Exploratory Study of Musical Emotions and Psychophysiology,” Canadian Journal of Experimental Psychology, 51 (1997), 336–52.Google Scholar
Ladinig, Olivia, Brooks, Charles, Hanse, Niels Chr., Horn, Katelyn and Huron, David, “Enjoying Sad Music: A Test of the Prolactin Theory,” Musicae Scientiae, 20 (2019), 1–20.Google Scholar
Levinson, Jerrold, Contemplating Art: Essays in Aesthetics, Oxford: Oxford University Press, 2006.Google Scholar
Levinson, Jerrold, Music, Art, and Metaphysics: Essays in Philosophical Aesthetics, Ithaca: Cornell University Press, 1990.Google Scholar
Levinson, Jerrold, Musical Concerns: Essays in Philosophy of Music, Oxford: Oxford University Press, 2015.Google Scholar
Levinson, Jerrold, “Musical Profundity Misplaced,” Journal of Aesthetics and Art Criticism, 50 (1992), 58–60.Google Scholar
Levinson, Jerrold, The Pleasures of Aesthetics: Philosophical Essays, Ithaca: Cornell University Press, 1996.Google Scholar
Lévi-Strauss, Claude, The Naked Man, trans. , John and Weightman, Doreen, New York: Harper and Row, 1971.Google Scholar
Loersch, Chris and Arbuckle, Nathan L., “Unraveling the Mystery of Music: Music as an Evolved Group Process,” Journal of Personality and Social Psychology, 105 (2013), 777–98.Google Scholar
McClary, Susan, Feminine Endings: Music Gender, and Sexuality, Minneapolis: University of Minnesota Press, 1991.Google Scholar
Meyer, Leonard B., Emotion and Meaning in Music, Chicago: University of Chicago Press, 1956.Google Scholar
North, Adrian C., Tarrant, Mark and Hargreaves, David J., “The Effects of Music on Helping Behavior: A Field Study,” Environment and Behavior, 26 (2004), 266–75.Google Scholar
Nussbaum, Charles O., The Musical Representation: Meaning, Ontology, and Emotion, Cambridge, ma: MIT Press, 2007.Google Scholar
Pastötter, Bernhard, Gleixner, Sabine, Neuhauser, Theresa and Bäuml, Karl-Heinz T., “To Push or Not to Push? Affective Influences on Moral Judgement Depend on Decision Frame,” Cognition, 126 (2013), 373–77.Google Scholar
Prieto, Eric, “Deleuze, Music, and Modernist Mimesis,” in Essays on Music and the Spoken Word and on Surveying the Field, Lodato, Suzanne M. and Urrows, David Francis (eds), Amsterdam: Rodopi, 1994, pp. 3–20.Google Scholar
Ridley, Aaron, “Profundity in Music,” in Arguing about Art: Contemporary Philosophical Debates, Neill, Alex and Ridley, Aaron (eds), New York: McGraw-Hill, 1995, pp. 260–70.Google Scholar
Robinson, Jenefer, Deeper than Reason: Emotion and Its Role in Literature, Music, and Art, Oxford: Clarendon Press, 2005.Google Scholar
Robinson, Jenefer, “Music and Emotion,” Journal of Literary Theory, 1 (2007), 395–419.Google Scholar
Robinson, Jenefer and Hatten, Robert, “Emotions in Music,” Music Theory Spectrum, 34 (2012), 71–106.Google Scholar
Scruton, Roger, Understanding Music: Philosophy and Interpretation, London: Continuum, 2009.Google Scholar
Seidel, Angelika and Prinz, Jesse, “Mad and Glad: Musically Induced Emotions Have Divergent Impact on Morals,” Motivation and Emotion, 37 (2013), 629–37.Google Scholar
Sizer, Laura, “Sad Songs Say So Much: The Paradoxical Pleasures of Sad Music,” Journal of Aesthetics and Art Criticism, 77 (2019), 255–66.Google Scholar
Steinbeis, Nikolaus, Koelsch, Stefan and Sloboda, John A., “The Role of Harmonic Expectancy Violations in Musical Emotions: Evidence from Subjective, Physiological, and Neural Responses,” Journal of Cognitive Neuroscience, 18 (2006), 1380–93.Google Scholar
Taruffi, Liila and Koelsch, Stefan, “The Paradox of Music-Evoked Sadness: An Online Survey,” PLoS ONE, 9 (2014), https://doi.org/10.1371/journal.pone.0110490.Google Scholar
Taruffi, Liila, Pehrs, Corinna, Skouras, Stavros and Koelsch, Stefan, “Effects of Sad and Happy Music on Mind-Wandering and the Default Mode Network.” Scientific Reports, 7 (2017), 14396, https://doi.org/10.1038/s41598-017-14849-0.Google Scholar
Thom, Paul, For an Audience: A Philosophy of the Performing Arts, Philadelphia: Temple University Press, 1995.Google Scholar
Vuoskoski, K. Jonna and Eerola, Tuomas “Can Sad Music Really Make You Sad? Indirect Measures of Affective States Induced by Music and Autobiographical Memories,” Psychology of Aesthetics, Creativity, and the Arts, 6 (2012), 204–13.Google Scholar
Walton, Kendall, “Listening with Imagination: Is Music Representational?” Journal of Aesthetics and Art Criticism, 52 (1994), 47–61.Google Scholar
Walton, Kendall, Mimesis as Make-Believe: On the Foundations of the Representational Arts, Cambridge, ma: Harvard University Press, 1990.Google Scholar
Wollheim, Richard, Art and Its Objects, second edition, Cambridge: Cambridge University Press, 1980.Google Scholar
Young, James O., “Empiricism and the Ontology of Jazz,” Revista Portuguesa de Filosofia, 74 (2018), 1255–66.Google Scholar
Young, James O., “The Ontology of Musical Works: A Philosophical Pseudo-Problem,” Frontiers of Philosophy in China, 6 (2011), 284–97.Google Scholar
Young, James O. and Matheson, Carl, “The Metaphysics of Jazz,” Journal of Aesthetics and Art Criticism, 58 (2000), 143–48.Google Scholar
Zangwill, Nick, “Against Emotion: Hanslick Was Right about Music,” British Journal of Aesthetics, 44 (2004), 29–43.Google Scholar
Zangwill, Nick, Music and Aesthetic Reality: Formalism and the Limits of Description, London: Routledge, 2015.Google Scholar
Zangwill, Nick, “Music, Essential Metaphor, and Private Language,” American Philosophical Quarterly, 48 (2011), 1–16.Google Scholar
Zangwill, Nick, “Music, Metaphor and Emotion,” Journal of Aesthetics and Art Criticism, 65 (2007), 391–400.Google Scholar
Bonds, Mark Evan, Absolute Music: The History of an Idea, Oxford: Oxford University Press, 2014.Google Scholar
Bowman, Wayne D., Philosophical Perspectives on Music, Oxford: Oxford University Press, 1998.Google Scholar
Dahlhaus, Carl, Esthetics of Music, trans. Austin, William W., Cambridge: Cambridge University Press, 1967.Google Scholar
Gallope, Michael, Deep Refrains: Music, Philosophy, and the Ineffable, Chicago: University of Chicago Press, 2017.Google Scholar
Godwin, Joscelyn (ed.), The Harmony of the Spheres: A Sourcebook of the Pythagorean Tradition, Rochester: Inner Traditions International.Google Scholar
Gracyk, Theodore and Kania, Andrew (eds), The Routledge Companion to Philosophy and Music, London: Routledge, 2011.Google Scholar
Kania, Andrew, Philosophy of Western Music: A Contemporary Introduction, New York: Routledge, 2020.Google Scholar
Kania, Andrew, “The Philosophy of Music,” in The Stanford Encyclopedia of Philosophy (Fall 2017 edition), Zalta, Edward N. (ed.), https://plato.stanford.edu/archives/fall2017/entries/music/.Google Scholar
Katz, Ruth and Dahlhaus, Carl (eds), Contemplating Music: Source Readings in the Aesthetics of Music, Stuyvesant: Pendragon Press, 1986.Google Scholar
Lippman, Edward, A History of Western Musical Aesthetics, Lincoln: University of Nebraska Press, 1992.Google Scholar
Lippman, Edward A. (ed.), Musical Aesthetics: An Historical Reader, Stuyvesant: Pendragon Press, 1986.Google Scholar
Martinelli, Riccardo, Philosophy of Music: A History, trans. De Sanctis, Sarah, Berlin: De Gruyter.Google Scholar
Schueller, Herbert M., The Idea of Music: An Introduction to Musical Aesthetics in Antiquity and the Middle Ages, Kalamazoo: Medieval Institute Publications, 1988.Google Scholar
Strunk, Oliver (ed.), Source Readings in Music History: From Classical Antiquity through the Romantic Era, New York: W. W. Norton & Company, 1998.Google Scholar
Taruskin, Richard, Oxford History of Western Music, Oxford: Oxford University Press, 2009.Google Scholar