Add to ORKGDissertation by Jeanette Bicknell on the scope and nature of the 'levels of understanding' that determine how we experience music, supervised by EWC and defended in May of 2000, as submitted to the Faculty of Graduate Studies in partial fulfilment of the requirements for the degree of Doctorate of Philosophy, Graduate Programme in Philosophy, York University, Toronto, Ontario
1) The aesthetic response to music is the purest and highest kind of musical appreciation, 2) In ae...
This essay starts with the premise that music is an experiential phenomenon. That is, in order for m...
Jeremy Begbie speaks of music as ‘theologically loaded’: as conveying a sense of intrinsic theologic...
How can someone have the right perception of sound and its nature? We hear sounds everywhere: we hea...
In his essay Understanding Music, Roger Scruton has argued for a nonreductionist approach to aesth...
© 2013 Dr. Belinda Marie PrakhoffMy thesis examines the view that training in musical analysis is es...
What is the distinctive character of musical experiences? An answer: musical experience is distincti...
grantor: University of TorontoIn the field of cognitivist theory of music, the major philo...
Master of EducationIt is intended that this work be used by students of music, and specifically, by ...
This article explores the ramifications of listening through somatics (the Feldenkrais Method), psyc...
This dissertation investigates a way of coming to terms with the heterogeneity of musical phenomena ...
Background Music is a temporal and sounding art. It is characterised most typically by its articulat...
I accept the opportunity for this encounter with music because for me it is an opportunity to advan...
Ludwig van Beethoven’s Symphony No. 9 in D minor, Op.125 is one of his most brilliant and influentia...
Ludwig van Beethoven\u27s Symphony No. 9 in D minor, Op.125 is one of his most brilliant and influen...
1) The aesthetic response to music is the purest and highest kind of musical appreciation, 2) In ae...
This essay starts with the premise that music is an experiential phenomenon. That is, in order for m...
Jeremy Begbie speaks of music as ‘theologically loaded’: as conveying a sense of intrinsic theologic...
How can someone have the right perception of sound and its nature? We hear sounds everywhere: we hea...
In his essay Understanding Music, Roger Scruton has argued for a nonreductionist approach to aesth...
© 2013 Dr. Belinda Marie PrakhoffMy thesis examines the view that training in musical analysis is es...
What is the distinctive character of musical experiences? An answer: musical experience is distincti...
grantor: University of TorontoIn the field of cognitivist theory of music, the major philo...
Master of EducationIt is intended that this work be used by students of music, and specifically, by ...
This article explores the ramifications of listening through somatics (the Feldenkrais Method), psyc...
This dissertation investigates a way of coming to terms with the heterogeneity of musical phenomena ...
Background Music is a temporal and sounding art. It is characterised most typically by its articulat...
I accept the opportunity for this encounter with music because for me it is an opportunity to advan...
Ludwig van Beethoven’s Symphony No. 9 in D minor, Op.125 is one of his most brilliant and influentia...
Ludwig van Beethoven\u27s Symphony No. 9 in D minor, Op.125 is one of his most brilliant and influen...
1) The aesthetic response to music is the purest and highest kind of musical appreciation, 2) In ae...
This essay starts with the premise that music is an experiential phenomenon. That is, in order for m...
Jeremy Begbie speaks of music as ‘theologically loaded’: as conveying a sense of intrinsic theologic...