Aesthetica musica

Aesthetica musica in traditione praemoderna mathematicas et cosmologicas organizationis rhythmicae et harmonicae proprietates investigabat. Saeculo autem duodevicensimo, studium in experientia musicae auditae vertit, et ergo quaestiones de eius pulchritudine et voluptate humana musicae investigat. Origo huius mutationis philosophicae Alexandro Baumgarten saeculo duodevicensimo aliquando, tum Immanueli Kani tribuitur. Per quorum scripta, aesthetica, vocabulum antiquum 'perceptionem sensilem' significans, eius connotationem hodiernam accepit. Philosophi decenniis recentioribus res praeter pulchritudinem et voluptatem exprimere solent. Exempli gratia, facultas per quam musica animi motus exprimere potest res disceptionis magni momenti fuit.

Aesthetica est pars philosophiae, cui contributiones magni momenti saeculo vicensimo facta sunt a Petro Kivy, Jerrold Levinson, Roger Scruton, et Stephano Davies. Multi autem musici, iudices musici, et alii qui philosophi non sunt studio aestheticae musicae contribuerunt. Saeculo undevicensimo, maior controversia orta est inter Eduardum Hanslick, iudicem musicum et musicologum, et Ricardum Wagner compositorem. Harrius Partch et alii musicologi, inter quos est Kyle Gann, musicam microtonalem et usum variorum graduum musicorum investigaverunt populoque gratum facere conati sunt. Praeterea, Lamonte Young, Rhys Chatham, et Glenn Branca at alii compositores nostri temporis operam gradui intonationi iustae appellato dant.

Musica saepe putatur nostros animi motus, intellegentiam, et psychologia afficere posse, nostram solitudinem allevare vel nostras cupiditates incitare. Plato philosophus in libro septimo Politiae dialogi suadet musicam recte adficere animam; ergo, proponit musicam in regno perfecto a civitate attente disponi.

Fuit in aesthetica musica inclinatio acris ad exprimendum momentum structurarum compositionum; aliae autem res de aesthetica musica lyricismum, harmoniam, hypnotismum, melodia, animi motum, resonantiam, lasciviam, et colorem musicam comprehendunt.

• Evolutio musica
• Iudicium musicum
• Index principiorum aestheticorum musicae
• Theoria musicae

• Adorno, Theodor W. 1973. Philosophy of Modern Music, conv. Anne G. Mitchell et Wesley V. Blomster. Novi Eboraci: Seabury Press.
• Adorno, Theodor W. 2002. Essays on Music, ed. Richard Leppert. Berkeleiae: University of California Press.
• Appen, Ralf von. 2007a. On the aesthetics of popular music. Music Therapy Today 8(1):5–25.
• Appen, Ralf von. 2007b. Der Wert der Musik: Zur Ästhetik des Populären. Bielefeld: Transcript. ISBN 3-89942-734-3.
• Blacking, John. 1973. How Musical Is Man? The John Danz Lectures. Seattli et Londinii: University of Washington Press. ISBN 0-295-95218-0.
• Bucknell, Brad. 2002. Literary Modernism and Musical Aesthetics. Cantabrigiae: Cambridge University Press. ISBN 0-521-66028-9.
• Davies, Stephen. 1994. Musical Meaning and Expression. Ithacae et Londonii: Cornell University Press.
• Davies, Stephen. 2001. Musical Works and Performances: A Philosophical Exploration. Oxoniae: Clarendon Press.
• Frith, Simon. 2004. What Is Bad Music. In Bad Music: The Music We Love to Hate, ed. Christopher J. Washburne et Maiken Derno. Novi Eboraci: Routledge. ISBN 0-415-94366-3.
• Gendron, Bernard. 2002. Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. Sicagi: University of Chicago Press.
• Gracyk, Theodore. 2007. Listening to Popular Music: Or How I Learned to Stop Worrying and Love Led Zeppelin. Ann Arbor: University of Michigan Press.
• Gracyk, Theodore. 1996. Rhythm and Noise: An Aesthetics of Rock. Durhamiae Carolinae Septentrionalis: Duke University Press.
• Kant, Immanuel. 2000. Kritik der Urteilskraft, Kants gesammelte Schriften, Vol. 5. Berolini: Walter de Gruyter, 1902–. Conversus titulo Critique of the Power of Judgment ab Eric Matthews, ed. Paul Guyer. Cantabrigiae: Cambridge University Press.
• Kivy, Peter. 1995. Authenticities: Philosophical Reflections on Musical Performance. Ithacae: Cornell University Press. ISBN 0-8014-3046-1.
• Kivy, Peter. 1989. Sound Sentiment: An Essay on the Musical Emotions Including the Complete Text of the Corded Shell. Philadelphiae: Temple University Press.
• Levinson, Jerrold. 1990, 2011. Music, Art, and Metaphysics. Ithacae: Cornell University Press. Ed. 2a. Oxoniae: Oxford University Press.
• Plato. 1894. The Republic. Conv. Benjamin Jowett. Oxford University Press.
• Scruton, Roger. 1997. The Aesthetics of Music. Oxford University Press.
• Schopenhauer, Arthur. 1966. The World as Will and Representation. Conv. E. F. J. Payne. Novi Eboraci: Dover. Vol. 1, ISBN 0486217612. Vol. 2, ISBN 0486217620.
• Sorce Keller, Marcello. 2007. Originality, Authenticity and Copyright. Sonus 7(2):77–85.
• Sorce Keller, Marcello. 2007. Why is Music so Ideological, Why Do Totalitarian States Take It So Seriously: A Personal View from History, and the Social Sciences. Journal of Musicological Research 26(2-3):91–122.
• Stravinsky, Igor, cum Robert Craft. 1962. Expositions and Developments. Novi Eboraci: Doubleday.

• Alperson, Philip, ed. 1987. What is Music? Novi Eboraci: Haven.
• Bertinetto, Alessandro. 2012. Il pensiero dei suoni: Temi di filosofia della musica. Mediolani: Bruno Mondadori.
• Bowman, Wayne D. 1998. Philosophical Perspectives on Music. Novi Eboraci et Oxoniae: Oxford University Press.
• Budd, Malcolm. 1985. Music and the Emotions: The Philosophical Theories. Londinii: Routledge & Kegan Paul.
• Davies, Stephen. 1994. Musical Meaning and Expression. Ithacae Novi Eboraci: Cornell University Press.
• Davies, Stephen. 2001. Musical Works and Performances: A Philosophical Exploration. Oxoniae: Oxford University Press.
• Goehr, Lydia. 1992, 2007. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford University Press.
• Gracyk, Theodore. 2008. The Aesthetics of Popular Music. The Internet Encyclopedia of Philosophy. Iunio.
• Gracyk, Theodore. 1992. Adorno, Jazz, and the Aesthetics of Popular Music. The Musical Quarterly 76(4):526–542.
• Gracyk, Theodore. 2013. On Music. Thinking In Action Series. Novi Eboraci: Routledge.
• Hanslick, Eduard. 1885. 1957. Vom Musikalisch-Schönen. Tr. The Beautiful In Music. Bobbs-Merrill Co (June 1957). ISBN 0-672-60211-3.
• Hausegger, Friedrich von. 1887, 2010. Die Musik als Ausdruck. Ed. Elisabeth Kappel et Andreas Dorschel. Studien zur Wertungsforschung, 50. Vinndobonae, Londinii, Novi Eboraci: Universal Edition. ISBN 978-3-7024-6860-6.
• Higgins, Kathleen M. 1991. The Music of Our Lives. Philadelphiae: Temple University Press.
• Kertz-Welzel, Alexandra. 2005. The Magic of Music: Archaic Dreams in Romantic Aesthetics and an Education in Aesthetics. Philosophy of Music Education Review 13(1):77-94.
• Kertz-Welzel, Alexandra. 2005. In Search of the Sense and the Senses: Aesthetic Education in Germany and the United States. Journal of Aesthetic Education 39(3):104-116.
• Kivy, Peter. 1980. The Corded Shell: Reflections on Musical Expression. Ithaca: Cornell University Press.
• Kivy, Peter. 2001. New Essays on Musical Understanding. Oxoniae: Oxford University Press. ISBN 978-0-19-825083-8.
• Lippman, Edward. 1992. A History of Western Musical Aesthetics. University of Nebraska Press.
• Scruton, Roger. 1997. The Aesthetics of Music. Oxoniae: Oxford University Press. ISBN 978-0-19-816727-3.
• Sorgner, S. L., et O. Fuerbeth, eds. 2010. "Music in German Philosophy: An Introduction." Sicagi: University of Chicago Press. ISBN 0-226-76837-6.
• Sorce Keller, Marcello. 2011. What Makes Music European: Looking Beyond Sound. Latham Novae Caesareae: Scarecrow Press.
• Thakar, Markand. 2011. Looking for the 'Harp' Quartet: An Investigation into Musical Beauty. University of Rochester Press.
• Zangwill, Nick. 2004. Against Emotion: Hanslick Was Right About Music. British Journal of Aesthetics 44:29–43.

• Aesthetica musicae popularis, www.iep.utm.edu
• Appen, von Ralf. "On the aesthetics of popular music," www.musictherapyworld.de
• Biographia Roberti Schumann, www.nndb.com
• Garlitz, Dustin, ed. De philosophia musicae, www.philosophyofmusic.org
• Philosophia musicae, plato.standord.edu