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2
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0039430772
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Indianapolis: The Bobbs-Merril Company
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E. Hanslick, The Beautiful in Music (Indianapolis: The Bobbs-Merril Company, 1957), 20-24
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(1957)
The Beautiful in Music
, pp. 20-24
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Hanslick, E.1
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3
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61149152334
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What was Hanslick Denying?
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in his Cambridge University Press
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P. Kivy, 'What was Hanslick Denying?', in his The Fine Art of Repetition (Cambridge University Press, 1993), 276-295
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(1993)
The Fine Art of Repetition
, pp. 276-295
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Kivy, P.1
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4
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33748926380
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Philadelphia: Temple University Press, chapters 1-8
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P. Kivy, Sound Sentiment (Philadelphia: Temple University Press), 1989, chapters 1-8
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(1989)
Sound Sentiment
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Kivy, P.1
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8
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84897555555
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Levinson attempts to answer this point by suggesting that our interest may well be directed to these feelings as communicated by a particular musical structure That may indeed be our interest, but, on the view Levinson develops, it can hardly be essential that our interest should be of this sort
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Levinson attempts to answer this point by suggesting that our interest may well be directed to these feelings as communicated by a particular musical structure (Music, Art and Metaphysics, 331). That may indeed be our interest, but, on the view Levinson develops, it can hardly be essential that our interest should be of this sort
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Music, Art and Metaphysics
, pp. 331
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9
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3042907525
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London: Routledge and Kegan Paul
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M. Budd, Music and the Emotions (London: Routledge and Kegan Paul, 1985), 124
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(1985)
Music and the Emotions
, pp. 124
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Budd, M.1
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10
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0003920273
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among many others, Cambridge University Press
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See, among many others, W. Lyons, Emotion (Cambridge University Press, 1980)
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(1980)
Emotion
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Lyons, W.1
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12
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84925917635
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The Phenomena of Love and Hate
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D.W. Hamlyn, 'The Phenomena of Love and Hate', Philosophy, 53, 1978, 15
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(1978)
Philosophy
, vol.53
, pp. 15
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Hamlyn, D.W.1
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13
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0004223970
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London: Oxford University Press
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B. Spinoza, Ethics, (London: Oxford University Press, 1930), 170
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(1930)
Ethics
, pp. 170
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Spinoza, B.1
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14
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0039346737
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her analysis of the distinctive mixture of affect which distinguishes one sort of fear from another in her New York: Routledge
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See, for example, her analysis of the distinctive mixture of affect which distinguishes one sort of fear from another in her Emotions and Reasons (New York: Routledge, 1988), 32
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(1988)
Emotions and Reasons
, pp. 32
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15
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33748926380
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especially Ch. 14. It is odd that one who sees the expressiveness of music to lie in its resemblance to human expressive gesture should hold this view; what can be conveyed by human gesture is often be very subtle indeed
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See, for example, P. Kivy, Sound Sentiment, especially Ch. 14. It is odd that one who sees the expressiveness of music to lie in its resemblance to human expressive gesture should hold this view; what can be conveyed by human gesture is often be very subtle indeed
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Sound Sentiment
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Kivy, P.1
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