Einführungen und Überblickswerke

Schneider, Michael S. A Beginner's Guide to Constructing the Universe: The Mathematical Archetypes of Nature, Art, and Science Harper Perennial, 1995 ISBN: 0060926716

Barrow, John D. The Artful Universe : The Cosmic Source of Human Creativity   Little Brown & Co., 1996 ISBN: 0316082422

Huntley, H.E. The Divine Proportion: A Study in Mathematical Proportion Dover, 1970 ISBN:  0486222543 Amazon Review: "This book is perfect if you enjoyed the movie Pi and want to learn more, or if you are researching connections between math and religion, art, quality (per R. Pirsig), or aesthetics. One downer is that Huntley tries, and fails, to explain how math can be beautiful just like poetry can be beautiful. I personally think that you either dig math or you don't. Huntley should assume that anyone reading his/her book is at least interested and therefore skip the "math can be pretty too" lesson. Beyond that, though, the book is a thorough introduction to phi and the golden ratio. Huntley more than makes up for his mentioned faults by providing numerous equations, proofs, plots, and diagrams. The math level is pre-calculus with emphasis on geometry. I recommend reading this with plenty of scratch paper handy so that you can work along with the text and prove to yourself how deep this rabbit hole goes."

BEUTELSPACHER, Albrecht & PETRI, Bernhard Der Goldene Schnitt Spektrum Akad. Verlag, 1996 (2) ISBN: 3860254049 Abstract: Nach der Vorstellung einiger Konstruktionsmethoden für den goldenen Schnitt werden in unterhaltsamer Form die unterschiedlichen Objekte, in denen man die betrachtete Proportion aufspüren kann, vorgestellt. Dazu gehören u.a. das regelmäßige Fünfeck, platonische Körper, Penrose-Parkette, Spirale oder auch Dreiecksfraktale. In weiteren Abschnitten stehen die Beziehungen des goldenen Schnitts zur Natur und zur Kunst im Vordergrund.

Herz-Fischler, Roger A Mathematical History of the Golden Number Dover, 1998 ISBN: 0486400077

Bühler, Walter Das Pentagramm und der Goldene Schnitt als Schöpfungsprinzip Verlag Freies Geistesleben, 2001 ISBN: 3772522114 Das Pentagramm und der Goldene Schnitt als Schöpfungsprinzip: In einer umfassenden und detaillierten Darstellung spürt Walther Bühler den Maßverhältnissen des GoldenenSchnitts und seiner geometrischen Metamorphosen in vielen Erscheinungen der Natur nach. Eine kosmologisch ganzheitliche Betrachtung [hört, hört] mit zahlreichen Abbildungen der geometrischen Phänomene.

Walser, Hans Der Goldene Schnitt Edition am Gutenbergplatz Leipzig, 2003 ISBN: 3937219013

Hausmann, Axel Der Goldene Schnitt. Goettliche Proportionen und noble Zahlen Norderstedt: BoD, 2001 ISBN: 3831124426

Doczi, Gyorgy The Power of Limits : Proportional Harmonies in Nature, Art, and Architecture Shambhala Publications, 1994 ISBN: 0877731934

Cook, Theodore Andrea The Curves of Life:  Being an Account of Spiral Formations and Their Application to Growth in Nature, to Science, and to Art Dover, 1979. ISBN: 048623701X

Livio, Mario The Golden Ratio: The Story of Phi, the World's Most Astonishing Number Broadway Books, 2002 ISBN: 0767908155 With a guide to the history of ideas as impassioned as Livio, even the math-phobic can experience the shock and pleasure of scientific discovery. This thoroughly enjoyable work [indeed] vividly demonstrates to the general reader that, as Galileo put it, the universe is, indeed, written in the language of mathematics.

Dunlap, Richard A. The Golden Ratio and Fibonacci Numbers World Scientific Publishing, 1998 ISBN: 9810232640

Ghyka, Matila The geometry of art and life. Subject:  Visual arts. Aesthetics. Geometric aspects New York. Dover Publications. 1977

Der Goldene Schnitt in der Musik

WEBSTER, J.H.D.
Golden Mean Form in Music
ML 31, 1950, pp. 238-48

PANOFSKY, E.
Die Entwicklung der Proportionslehre als Abbild der Stilentwicklung
In: ders., Sinn und Deutung in der Bildenden Kunst
engl. N.Y. 1955, dt. K. 1978

NORDEN, H.
Proportions in Music
Fibonacci Quarterly 2, 1964, 219

HOFMANN, W.
Goldener Schnitt und Komposition. Versuch zur Fixierung eines Ordnungsprinzips.
Wilhelmshaven 1973, 1986

PASCOE, C.
Golden Proportion in Musical Design
Diss. University of Concinnati 1973

SOLOMON, L. J.
Symmetry as a Determinant of Musical Composition
Diss. Univ. of West Virginia 1973

HAASE, R.
Der missverstandene Goldene Schnitt
Zs. fuer Ganzheitsforschung 19, 1975, 240-49

ADAMS-WEBBER, J.
The Golden-Section Hypothesis
in: British Journal of Psychology 67, 1976, 11-15

POWELL, N. W.
Fibonacci and the Golden Mean: Rabbits, Rumbas, and Rondeaux
in: Journal of Music Theory 23, 1979, 227-73

Keil, Werner
Gibt es den Goldenen Schnitt in der Musik des 16. bis 19. Jahrhunderts?
Eine kritische Untersuchung rezenter Forschungen
Augsburger Jahrbuch fur Musikwissenschaft, vol. 8 1991. p. 7-70
+In: Augsburger Jahrbuch fur Musikwissenschaft. VIII (1991) Tutzing, Germany: Schneider 1991

Abstract: The extensive pertinent literature falls into two groups. One approach finds connections between the Golden Section and elementary musical principles such as the intervallic system, whereas another sees the Golden Section as an organizational principle in specific works. Kepler's Harmonices mundi (1619) and the concept of "constant division" proposed by the anthroposophist Ernst Bindel are discussed, and analyses of compositions by Dufay, Bach, Mozart, Beethoven, Debussy, and Bartok are presented.(author)

Lefebvre, Vladimir A.
A rational equation for attractive proportions
Journal of mathematical psychology, vol. 36, no.1 Mar 1992. p. 100-128.
ISSN: 0022-2496

Abstract: A hypothetical law governing generation of aesthetically attractive proportions in music and geometry is introduced. From this law, the just intonation set, the Golden Section, and other geometrical ratios are shown to be attractive. This hypothesis is then deduced from a formal model of a subject with many-tiered reflection.(author)

Abstract: The author's Directory of tunes and musical themes (RILM 75-3278) tabulates the rise, fall, or repetition of pitches of successive notes at the start of thousands of tunes. Analysis of many such pitch profiles indicates a remarkable statistical consistency in the use of different patterns by composers of all types and periods. Statistics for vocal themes vary somewhat from those for instrumental works, but overall the degree of consistency found suggests an unconscious law akin to the Golden Section in the history of art.(Duce, Roger)

Escot, Pozzi
Explorations and explosions of a hidden likeness, three Piro songs
Sonus: A journal of investigations into global musical possibilities, vol. 9, no.2 spring 1989. p. 8-24.
ISSN: 0739-229X

Abstract: Three songs composed and sung by the women of the Piro people, Peru, are analyzed for their nonlinear construction. These analyses reveal Golden Section proportions. Nonlinearity is relatively new to European thought. However, awareness of other cultures' nonlinear concepts of life and music is important to the understanding of contemporary European art music.(Schreiner, Martin)

MOECKEL, MAX
Das Konstruktionsgeheimnis der alten italienischen Meister. Der Goldene Schnitt im Geigenbau.
Verlag der Musik-Instrumentenzeitung, Berlin (1925)

PERRY-CAMP, Jane, Sweet Briar Col., Virginia, USA
Time and temporal proportion: the golden section metaphor in Mozart, music, and history.
Journal of musicological research, USA Vol. III/1-2 (October 1979) 133-76. Chart.

Abstract: Character and the means of temporal survival are revealed in a person's psychological ordering of time. 'Virtual' time, as expressed in temporal art forms (e.g., music and history), demonstrates epistemic character, i.e., a theoretical concept of external time-rhythm in relation to an aesthetic sense of internal time-rhythm. Temporal art forms can be analyzed in terms of symmetry (translatory and proportional), including golden-section symmetry-rhythm. In music, Mozart, notably in his piano sonatas, shows a decided preference for the golden section, thereby leading to speculation on that ratio's appropriateness as a metaphor for our Western sense of time. (Author)

CONDAT, Jean-Bernard Nombre d'or et musique. (Paris: Philips-France, 1983) Der Goldene Schnitt in der Musik. The Golden Section in Music. Abstract: Discusses the mathematical basis of Pythagorean tuning and equal temperament with respect to the Golden Section.  (Author, abridged)

DAMBRICOURT, Jean-Pierre
Le nombre d'or et la fin du pythagorisme musical.
Translated: The Golden Number and the end of musical Pythagoreanism.
Series: Cahiers du CREM Vol. 1-2 (December 1986) 83-93.

Abstract: The musical use of the Golden Section has its origin in a scientistic musical philosophy based on Pythagoras and giving priority to the eye over the ear. In this regard, the trajectory of music history from the 'grand beginning' of ancient Greece to Xenakis has doubled back on itself. Recent developments in contemporary music reject a visually oriented rationalism in favor of a complex dialectic between the thought-out and the perceived. Exemplification is drawn from Xenakis's Metastasis and Bartok's Contrasts. (Author)

ADKINS, Donald
Golden mean durational analysis as a guide to orchestral repeats and tempos.
(DMA doc., Orchestral conducting: U. Missouri, Kansas City, 1986) 122 p. Bibliography.

Abstract: It may be that music is perceived in terms of clock time as well as psychological time, and that the structure of this perception often takes the form of Golden proportions. Analysis of orchestral works with composer-indicated metronome markings suggests Golden proportions often occur when sectional lengths are calculated in terms of clock time. Da capo repeats in Classic minuet-trio form create Golden proportions in a high percentage of cases. Seven of Beethoven's nine symphonies form Golden proportional structures when his metronome markings and repeats are observed. A technique for establishing tempo relationships in multi-movement works that emphasize Golden proportions is presented and applied to several orchestral works. (Author)

DORFMAN, Allen Arthur
A theory of form and proportion in music.
(PhD diss., Music: U. California, Irvine, 1986) 472 p. DA 8614082.

Abstract: The relatively few considerations of musical form which focus on the proportional relationships among the parts and the whole of a composition have often centered on the Golden Section, whereby a whole is divided into two unequal parts such that the ratio of the smaller to the larger is equal to the ratio of the larger to the whole. Such methods encourage a consideration of the pace at which events that give a composition its unique structure and shape occur proportionate to the whole. The literature on the Golden Section is examined, and a theory of musical form in terms of structure and shape is introduced and applied to the 24 preludes of Chopin, op. 28. (Author)

Levin, Flora R. The Manual of Harmonics of Nicomachus the Pythagorean ISBN: 0933999437

Gestalttheorie und Wahrnehmung

CRICKMORE, Leon
The musical Gestalt.
The music review, United Kingdom Vol. XXXIII/4 (November 1972) 285-91.

Kohler, Wolfgang Gestalt Psychology : An Introduction to New Concepts in Modern Psychology Liveright, 1992 ISBN: 0871402181

LORA, Doris
Musical pattern perception.
College music symposium, USA Vol. XIX/1 (spring 1979) 166-82.

Abstract: Evidence of the perception of patterns in human behavior, structuring of aural stimuli, and response to music is examined in light of Gestalt figure-ground theory and other psychological perspectives. (Virginia Durrschmidt)

VIRET, Jacques
Melodie et 'Gestalt'. Pour une nouvelle approche de l'analyse melodique.
Translated: Melody and 'Gestalt'. Toward a new approach to melodic analysis.
International review of the aesthetics and sociology of music, Croatia Vol. XIII/1 (June 1982) 39-53.

Abstract: Studies the organization and form of melody from the psychological perspective of the Gestalttheorie (theory of form) - that the whole is something more and different than the sum of its parts - and brings to light the characteristic features by which melody can be distinguished from a casual sequence of tones. Extends the concept of the 'qualities of the form', elucidated by the theorists of the Gestalt, to the analysis of melody, and finds that the qualities that produce organic unity in melodic form are dominated by intervallic relationships.

Thomas, Roswitha
Der Begriff der Gestalt in der Musik und der Psychologie
Translated: The gestalt concept in music and in psychology
In: Musik und Gestalt: Klinische Musiktherapie als integrative Psychotherapie Paderborn: Junfermann 1990 p. 17-36

Abstract: The complexities of musical events and attendant perceptual and interpretative processes, are described from the standpoint of gestalt psychology. A linear connection would seem to exist between music and those processes of gestalt apprehension and gestalt structuring that take place as one listens.(Weil, Karola)

Bielawski, Ludwik
Zeit und Form
Translated: Time and form
In: Probleme der Volksmusikforschung Bern: Lang 1990 p. 15-21

Abstract: Discussion of the integration of musical form and different facets of temporality, including the prototemporal, biotemporal, atemporal, eotemporal, and the nootemporal. Problems of perception, Gestalt psychology, and historical and cultural influences on musical form are briefly presented.(Avorgbedor, Daniel K.)

WELLECK, Albert
Gegenwartsprobleme Systematischer Musikwissenschaft. Sammelreferat uber Musikpsychologie und Asthetik. Translated: Present-day problems of systematic musicology. A collective report on music psychology and music aesthetics.
Acta musicologica, Int. XLI/3-4 (1969) 213-35.

Abstract: Since the time of Wundt and Lamprecht the relationship between psychology and the humanities has been disturbed and has regressed; this has affected musicology. Rene Chocholle's insufficient presentation 'Das Qualitatssystem des Gehors' in the 14-v. Handbuch der Psychologie (Hans Thomae) attests to this since such problems as 'absolute' hearing are not even dealt with. Current problems in the psychology of music are examined: 1) The polarity profile, whose alternatives are often stated in such loose categories that the relevant work of E. Jost, E. Kotter and others can hardly be applied; 2) Gestalt psychology and its application to music theory. A highly significant instance of special musical talent in extreme oligophreny throws light on the questions of the essence of music and corroborates the basic ideas of Schopenhauer's philosophy of music. Investigations by R. Frances, the author, and H. Federhofer rely on the objective-methodical pre-eminence of auditory and music-psychological aspects. The pre-eminence, with respect to the virtue of new music, has generally been overlooked in favor of philosophical and sociological aspects. (Hellmut Federhofer)

Stadler, Michael ; Kobs, Michael ; Reuter, Helmut
Musikhoren, -verstehen, -spielen: Kognitive Selbstorganisation und Einfuehlung
Translated: Hearing, understanding, and performing music: Cognitive self-organization and sensitivity
Musikpsychologie: Jahrbuch der Deutschen Gesellschaft fur Musikpsychologie, vol. 9 1992. p. 7-24. ISSN: 0177-350X

Abstract: Musical experience and musical production are analyzed from the perspective of cognitive self-organization theory. While other theories postulate the perception of information issuing from the environment, the theory of cognitive self-organization assumes the generation of information in the cognitive system itself. Musical communication is a constructive process involving melody, harmony, rhythm, and dynamics, with attribution of emotional values occurring within the listener, as musical examples using gestalt-theory principles of composition demonstrate. Music as a cognitive construction exists only within a certain time-scale. Examples of multistability show the internal activity of the cognitive system. The principles of music generation are mainly the classical Gestalt laws: vicinity, similarity, symmetry, closure, common motion, and continuity. The constructive nature of musical experience is demonstrated by physically impossible sound-structures analogous to M.C. Escher's visual art. Spontaneous creation in collective improvisation occurs as a collective convergence by rhythmic resonance. The significance of the social context of musical production and reception is considered.

Muller, Martin
Erich M. von Hornbostel: Gestaltpsychologie und kulturvergleichende Forschung
Translated: Erich M. von Hornbostel: Gestalt psychology and cross-cultural research in music
In: "Vom tonenden Wirbel menschlichen Tuns": Erich M. von Hornbostel als Gestaltpsychologe, Archivar und Musikwissenschaftler--Studien und Dokumente Berlin, Germany: Schibri p. 169-183

Abstract: Hornbostel was a prototype of an interdisciplinary scientist. He had begun working under Carl Stumpf who headed the Psychological Institute at Friedrich-Wilhelms-Universitat at that time. At this institute, Hornbostel applied Stumpf's "Tonpsychologie" to different cultures and developed a special kind of "Volkerpsychologie": comparative music-psychology. In that context his most important aim was a description and explanation of musical manifestations in different cultures in a manner "adequate" to these cultures (kulturadaquate Beschreibung). Hornbostel carried positions that were already established in this domain over to other fields of cross-cultural investigation and research, i.e. intelligence. He worked together with other scholars and scientists around Stumpf, especially with Max Wertheimer, who formed what was known to become the "Berlin School of Gestalt Psychology". As a gestalt-psychologist, Hornbostel made original contributions to research in the fields of visual and aural perception and psychophysics.

Cascone, Kim
The aesthetics of failure: "Post-digital" tendencies in contemporary computer music
Computer music journal, vol. 24, no.4 winter 2000. p. 12-18.
ISSN: 0148-9267
In: Computer music journal. XXIV/4 (winter 2000): Encounters with electronica p. 12-18. ISSN: 0148-9267

Abstract: [unedited] Discusses the "glitch" or "noise" movement in avant-garde popular music, outlining some of its historical percursors in serious music. Inteprets the glitch movement's focus on acoustic detritus in terms reminiscent of Gestalt psychology.(journal)

Franek, Marek ; Mates, Jiri
Tempo relations: Is there a psychological basis for proportional tempo theory?
In: Music, Gestalt, and computing: Studies in cognitive and systematic musicology Berlin, Germany: Springer p. 253-262

Abstract: David Epstein proposes that, in a piece of music, all tempo relations can be expressed by the low order whole number ratios 1:1, 1:2, 2:3, and 3:4 (or the inverse). The theory relates to the Gestalt concept in dealing with part/whole relations and coherence. This study of tempo performance examines possible underlying psychological mechanisms, experimentally investigating the ratios between neighboring tempos that occur when subjects are asked to make arbitrary modulations. Subjects were instructed to make tempo changes defined by vague terms like "small", "large", and "arbitrary" modulation. The finger tapping method was employed. Results show that tempo ratios were characterized by narrow distributions of values. Subjects rarely responded with whole number ratios. Averaged values show that in slow-down conditions (except "arbitrary"), responses were close to whole number ratios; in speed-up conditions, deviations from whole number ratios were greater. Results for speed-up conditions were influenced by systematic temporal error. Relations between neighboring tempos may better be described in terms of categories of tempo difference.

Reybrouck, Mark
Gestalt concepts and music: Limitations and possibilities
In: Music, Gestalt, and computing: Studies in cognitive and systematic musicology Berlin, Germany: Springer p. 57-69

Abstract: Reappraises some older insights and expands Gestalt concepts from a largely intuitive to an operational approach. The use of the methodology of interdisciplinary research is strongly promoted, and the importance of the cognitive view of elaboration and processing of musical structure is stressed, emphasizing a shift from structural to functional descriptions. Attention is directed to the specificity of music as a temporal and sounding art, memory and imagination, and the tension between actuality and virtuality in the construction of musical gestalts.

Leman, Marc (Ed.) Music, Gestalt, and Computing : Studies in Cognitive and Systematic Musicology (Lecture Notes in Computer Science, 1317) Springer, 1997 ISBN: 3540635262  Editorial Review: This book presents a coherent state-of-the-art survey on the area of systematic and cognitive musicology which has enjoyed dynamic growth now for many years. It is devoted to exploring the relationships between acoustics, human information processing, and culture as well as to methodological issues raised by the widespread use of computers as a powerful tool for theory construction, theory testing, and the manipulation of musical information or any kind of data manipulation related to music. The book comes with a CD providing sound examples for various chapters; it contains a comprehensive name and subject index and the following chapters: Gestalt theory revisited, from pitch to harmony, from rhythm to expectation, from timbre to texture, from musical expression to interactive computer systems.

Leman, Marc
The theory of tone semantics: Concept, foundation, and application
Minds and machines: Journal for artificial intelligence, philosophy, and cognitive science, vol. 2, no.4 Nov 1992. p. 345-363.
ISSN: 0924-6495.

Abstract: Tone semantics is a psychoacoustic-based theory of gestalt perception that deals with the assignment of functional relationships between tones in a musical context. The theory provides an operational account of semantics in terms of complex dynamic systems theory and forms the basis for nonsymbolic research in musical imagination. This is applied to the automatic recognition of tone centers from acoustical input. An analysis of the basic concepts and related epistemological and methodological principles reveals a promising paradigm for research. (Author)

Holler, York ; Trans. by -Osborne, Nigel
Composition of the Gestalt, or the making of the organism
Contemporary music review, vol. 1, no.1 1989. p. 35-40. ISSN: 0749-4467
In: Contemporary music review. I/1 (1989): Musical thought at IRCAM p. 35-40.
ISSN: 0749-4467

Abstract: Given a boundless choice of forms and musical elements, the modern composer must create a Gestalt, a method of delimiting space and dividing time. A work of art is like an organism; it results not from arbitrary formulation, but from the evolution of a process. A musical work might be deduced from a single cell, which, DNA-like, contains the plan of the whole. The organic forms of tonal music seem forced and arbitrary nowadays; new Gestalts need to be created. Methods of transforming a chordal Gestalt into a temporal Gestalt are given.(Brooke, Nicholas)

Albrecht, Jan
Die Geisteswelt des Schoenen
Translated: The spiritual world of beauty
Bratislava: PT, 1995

Abstract: The complex interactions among individuals, society, and art are examined. Emotion is seen as the central phenomenon of life. In visual art, the subject is an object, but the point of the work is not to mimic the form, but to convey the function of the object. Since music cannot mimic in the material sense, its aim is to awaken emotion in the listener through its kinetic movement. Sound patterns are seen as units of music, and connections among structural elements are examined. The specific characteristics of music that achieve their effect by structuring the psychological conditions of the listener are analyzed. Principles of cognitive and Gestalt psychology are applied to the study.(Osborne, Suzanne)

Orlik, Franz
"Inneres Zeitbewusstsein" und "attentionale Modifikation": Ein Beitrag zur Klarung des Verhaltnisses von Zeit und musikalischer Gestalt im Anschluss an Husserl
Translated: The inner consciousness of time and attention modification: A contribution toward clarifying the relation of time and musical shape, with a debt to Husserl
Archiv fur Musikwissenschaft, vol. 51, no.4 1994. p. 253-73.
ISSN: 0003-9292

Abstract: Edmund Husserl's thesis--that the fading away of memory is a linear process--is inappropriate to the way music is received. His theory of attention modification can help to remedy the deficiencies. Transcendental phenomenology as a doctrine of pure experience structures can form a methodological foundation for musicology.(author)

Cumming, Naomi Helen
Music analysis and the perceiver: A perspective from functionalist philosophy
Current musicology, no.54 1993. p. 38-53.
ISSN: 0011-3735

Abstract: An awareness of the potential and the limitations of functionalism and its computational metaphors is valuable to the music analyst and interpreter. The ideas of Leonard B. Meyer, Jerry A. Fodor, Hilary Putnam, Eugene Narmour, Paul Churchland, Fred Lerdahl, and Ray Jackendoff are discussed. Topics include the influence of Gestalt psychology, personal and subpersonal discourse levels, linguistic theory, the implication-realization theory, and both top-down and bottom-up systems.(McIntosh, Nadia)

Morris, Robert D.
New directions in the theory and analysis of musical contour
Music theory spectrum, vol. 15, no.2 fall 1993. p. 205-228.
ISSN: 0195-6167

Abstract: A review of previous works on contour and their application to Schoenberg's Sechs kleine Klavierstucke, op. 19, no. 4, points to the association of the work's pitch-class set segmentations with relations among sets of equivalent contours. The concept of contour reduction algorithm is introduced, based on principles of perceptual organization from Gestalt psychology. The algorithm allows the association of nonadjacent contour pitches according to their degree of salience. Contours can be reduced to one of a set of irreducible prime contours that define their characteristic depth. The application of the algorithm to the six phrases of the Schoenberg piece matches the conclusions of the previous contour/pitch-class set analysis. The hierarchic nature of the algorithm also helps organize the many classes of equivalent contours. The definition of a contour as the association of any two sets leads to the construction of a taxonomy including all possible contours. Contours that include replication and simultaneities are defined by categories in mathematical relation theory. The role of salience in musical structure is discussed. The contour reduction algorithm is compared to reductive methodologies of tonal music and the perceptual Gestalt theories of James Tenney and Larry Polansky. (Author)

Zbikowski, Lawrence Michael
Large-scale rhythm and systems of grouping
PhD diss., Yale U., 1991. 373 p. UMI No. DA9136210.

Abstract: Systems of grouping are used for analyzing passages, phrases, or sections of music. The idea of a group is similar to that of a gestalt, a concept explored in a proposed theory of cognition drawn from recent research in artificial intelligence, linguistics, anthropology, and the psychological processes associated with categorization. A formalization of systems of grouping for the analysis of musical rhythm, based on this theory, is offered. Taking rhythm as a continuous succession of musical events, grouping systems define groups and relationships between groups as a means of describing changes in this succession of events. Grouping systems are developed for the analysis of 17th-c. works for lute and keyboard, the Vivace from Beethoven's F-major string quartet, op. 135, and Tento 2 from Henze's Kammermusik 1958.(author)

Rothfarb, Lee Allen
Ernst Kurth's Die Voraussetzungen der theoretischen Harmonik and the beginnings of music psychology
Theoria: Historical aspects of music theory, vol. 4 1989. p. 10-33

Abstract: A presentation in translation of a few passages from Kurth's treatise, providing a historical context for understanding its significance. The book moves away from formalized, purely syntactical views of musical events toward a psychological interpretation of those events, as heard. Going beyond tone-psychological research, Kurth worked toward a music psychology that would deal with musical phenomena in context. In this quest, he was stimulated by the fusion concept of Carl Stumpf, but his mode of thought is closer to the then-emerging holistic views of Gestalt psychology.(author)
  

Kimberly, Elam Geometry of Design Princeton Architectural Press, 2001 ISBN: 1568982496

'Goldene' Werke der Musikgeschichte

HOWAT, Roy
Bartok, Lendvai and the principles of proportional analysis.
Music analysis, Great Britain Vol. II/1 (March 1983) 69-95. Facsimile, music examples, bibliography.

Abstract: Since their first publications in the 1950s, the analyses of Bela Bartok's music by Erno Lendvai have been both influential and controversial, but have received little critical evaluation. Lendvai's claims of Golden Section construction in the proportions of many works of Bartok are examined in two of his books, Bela Bartok: an analysis of his music (RILM 1976-00801) and The workshop of Bartok and Kodaly (Budapest: Editio Musica, 1983). Despite some small inaccuracies and ambiguous nomenclature, the author corroborates Lendvai's claims by more detailed analyses of Sonata for two pianos and percussion and Music for strings, percussion, and celesta and refers to analytical work by Elliott Antokoletz and George Perle. The relationship of the conscious and subconscious in Bartok's technique is examined, and symbolic and technical connections to the works of Bartok are traced in music by Claude Debussy, Maurice Ravel, and Zoltan Kodaly. (Author)

Mohr, Jonathan J.J.
Golden proportion in the string quartets of Bela Bartok
MM thesis, Music theory: U. of Alberta, 1980. 179 p.

Abstract: Examines the extent to which the Golden Section is evident in the form of each movement of Bartok's six string quartets. The relationship between this formal principle and traditional music forms used by Bartok is elucidated. Bartok used the Golden Section as an aid to composition, based in part on the evidence of proportionally unrelated sections that appear to have been later additions to an original fully proportioned scheme. There is also evidence that Bartok used the Golden Section to reinforce musical relationships in the block architecture of his works.(author)

Locke, Derek
Numerical aspects of Bartok's string quartets
Musical times, vol. 128, no.1732 June 1987. p. 322-325. ISSN: 0027-4666

Abstract: Bartok's use of Golden proportions and Fibonacci numbers is traced through the string quartets nos. 4-6 and other works. The purpose was not so much a matter of obtaining "aesthetic" proportions as of avoiding arbitrariness.(Yaraman, Sevin)

Tusa, Erzsebet
Bartok und die Naturformen: Der Goldene Schnitt
Translated: Bartok and natural forms: The Golden Section
Polyaisthesis, vol. 4, no.1 1989. p. 78-87. ISSN: 0259-0824

Abstract: Traces the relationship of Bartok's forms and proportions with organic (especially plant) structures and with the Fibonacci series and the medial section (the limes of Fn$/ over Fn+1$/).(author)

Sabo, Anica
The specific relation of Bela Bartok towards the Golden Section in the process of forming the musical flow
In: Exclusivity and coexistence Beograd, Yugoslavia: Fakultet Muzicke Umetnosti p. 127-135

Abstract: An analysis of the first movement of Bartok's Music for strings, percussion, and celesta in terms of the Golden Section and the Fibonacci series. All parameters of the music interact with these mathematical factors to yield the overall pattern of the movement. Tempo change and axis symmetry are disequilibrating forces lying outside the mathematical logic of the Golden Section and the Fibonacci series.

BACHMANN, Tibor ; BACHMANN, Peter J
An analysis of Bela Bartok's music through Fibonaccian numbers and the golden mean.
Musical quarterly, USA Vol. LXV/1 (January 1979) 72-82. Music examples.

Abstract: Citing examples where the golden section and Fibonacci numerical sequences are used as a structural foundation, the author concludes that Bartok's music is built on and is directly a function of these devices, which clarify and focus the balance and proportion existing in his music. (Nancy M. Bren)

Crystall, Ellen Barbara
Esoteric traditions and music in the early twentieth century with an appraisal of composer Cyril Scott
PhD diss., New York U., 1996. 476 p. UMI No. DA9622000.

Abstract: The role esoteric traditions and the occult have played in the lives and musical works of composers and their associates between 1900 and 1920 is examined. The Golden Section, the Fibonacci number series, and esoteric traditions--belief systems that move beyond the bounds of traditional religion and physical reality--are defined. Background is presented supporting the ancient "music of the spheres" concept that music has power that affects everyone. Pre-20th-c. philosophers discussed are Fabre d'Olivet, Nodier, and Schopenhauer. The extensive influence exerted by esoteric traditions on the arts between 1900 and 1920 is discussed with reference to the Priory of Sion, Theosophy, spiritualism, occultism, Rosicrucians, Freemasons, Society for Psychical Research, the Hermetic Order of the Golden Dawn, Tarot cards, and synaesthesia. Individuals who are discussed include Anton Mesmer, Rudolph Steiner, Georges Gurdjieff, Delacroix, Kandinsky, Mallarme, Papus, Josephin Peladan, and Edmond Bailly. Composers involved with the esoteric have included Mozart, Schumann, Mahler, Wagner, Debussy, Satie, Ravel, Skrjabin, Thomas Hartmann, Parry, Holst, Varese, Schoenberg, Webern, Messiaen, and Stockhausen. The music of Cyril Meir Scott, composer and member of a secret, elitist esoteric circle, is analyzed to demonstrate his use of the Golden Section and musical esoteric references, especially in the piano sonata, op. 66.(author)

Jacobitz, Joachim
Harmonische Strukturen in Rockballaden
Berliner Beitrage zur Musikwissenschaft: Beihefte zur Neuen Berlinischen Musikzeitung, vol. 9, no.1 1994. p. 46-49

Abstract: Examines whether and to what extent the Golden Section is evident in rock songs of the 1970s. The mathematical basis and musical application of the principle are discussed, and the songs Child in time by Deep Purple and Holiday by the Scorpions are analyzed. The harmonic structure is so evident on the basis of structogram analysis that it constitutes the basic form of the works. Since it is unlikely that rock musicians will have heard of the Golden Section, its formative presence in the music must have to do with natural intuition.(Wagner, Dorothea)

Berger, Gunter
Der Komponist Leif Kayser: Reflexionen zu Struktur und Charakter von Concerto per Organo
Translated: The composer Leif Kayser: Reflections on the structure and character of his Concerto per organo
Kassel, Germany: Merseburger 1995 p. 483-514

Abstract: A formal analysis of Kayser's concerto for organ. In the first movement the varied repetition of motives is elaborated to create the larger form. The motives of this movement permeate the entire work. The second movement, a scherzo, exhibits proportionality according to the Golden Section, and is somewhat reminiscent of Bartok. The third movement is a rondo based on the last movement of Stravinsky's Le sacre du printemps. The fourth movement is a fugue of up to 8 voices and leads directly to the fifth movement, a finale with tarantella sections.(author)

Roig-Francoli, Miguel Angel
Harmonic and formal processes in Ligeti's net-structure compositions
Music theory spectrum, vol. 17, no.2 fall 1995. p. 242-267.
ISSN: 0195-6167
In: Music theory spectrum. XVII/2 (fall 1995) Baltimore: Society for Music Theory 1995

Abstract: Examines the compositional techniques Ligeti uses in building net-structures, webs of finely woven, interacting lines or repeated patterns involved in a process of continual transformation. Pitch reductions are used to analyze the net-structures in Ramifications as well as in the fifth movement of the string quartet no. 2 and the first movement of the chamber concerto. These pitch reductions are based on the chromatic fluctuation of melodic microstructures and those that result from the constant transformation of harmonic cells by means of intervallic expansion or contraction. Ligeti's net-structures are supported by carefully balanced harmonic processes which display both symmetrical arrangements and long-range intervallic structural relationships. The harmonic and textural transformations in net-structure compositions are the main generating elements of large-scale formal designs governed by the Golden Section and other proportional relationships.(author)

Hoffmann-Erbrecht, Lothar
Johann Caspar Ferdinand Fischers Klangflachenpraludien fur Klavier im Spiegel der zeitgenossischen Kompositionen
Translated: Johann Caspar Ferdinand Fischer's Klangflachenpraludien for keyboard in light of contemporary compositions
In: J.C.F. Fischer in seiner Zeit Berlin: Lang 1994 p. 55-70

Abstract: The term Klangflachenpraludium is defined and various movements by Fischer, Kuhnau, and Christoph Graupner are examined as well as J.S. Bach's prelude in C-major, Wohltemperirtes Clavier I. Bach's prelude and Kuhnau's works are built on the first- and second-order Golden Section; Graupner prefers an axial structure. Fischer's work is of neither the one nor the other type. Even if one does not accept the doctrine of the Golden Section, the extremely strict proportionality of Kuhnau and Bach is unmistakable.(author)

Linton, Michael Roy
The dual chiastic design of the C major prelude, BWV 870 (The well-tempered clavier, book II)
Bach: The journal of the Riemenschneider Bach Institute, vol. 27, no.1 spring-summer 1996. p. 31-56.
ISSN: 0005-3600

Abstract: The C-major prelude, BWV 870, with which J.S. Bach headed his second volume of Das wohltemperirte Clavier, exists in three authenticated forms. Comparison of these versions suggests that Bach revised his music to more closely fit a formal scheme based on the Golden Section (the various points of the Golden Section in the final version being precisely articulated by Neapolitan chords). The Golden Section form is superimposed on a chiastic form that articulates symmetrical subdominant relationships. Bach's purpose for using this double chiastic design was theological.(author)

KEE, Piet
Die Geheimnisse von Bachs Passacaglia, III.
Translated: The mysteries of Bach's passacaglia, III.
Musik und Kirche, West Germany, Vol. LIII/1 (1983) 19-28. Illustration, music examples. In German.

Abstract: Continues the analysis of Bach's organ passacaglia BWV 582 (see RILM 1982-02338-ap). Discusses Bach's use of number symbolism, including the convergence of the point of the golden section (13:21) and the Bach number (14). Other symbolism in the piece equates the thema fugatum with 'Amen' while the two-voiced subject together with the countersubject represents the Trinity. In addition to musical and rhetorical analysis, manuscript sources and questions of interpretation and performance are discussed. The author also addresses the hypothesis that the work was written 'in memoriam' Dietrich Buxtehude. (Author)

Sabatier, Francois
La section d'or dans la musique d'orgue de Jean-Sebastian Bach
Translated: The Golden Section in organ music by Johann Sebastian Bach
L'orgue: Revue trimestrielle, no.222 Apr-June 1992. p. 41-44. ISSN: 0030-5170

Abstract: Traces Bach's episodic application of the Golden Section in his chamber works with organ BWV 541, 542, 547, and 552.

TODUTA, Sigismund ; TURK, Hans Peter
Bachs Inventionen und Sinfonien-Asthetisch-stilistische Beitrage.
Translated: Bach's Inventions and sinfonias: aesthetic-stylistic contributions.
In: Bericht uber die Wissenschaftliche Konferenz zum III. Internationalen Bach-Fest der DDR. edited by Werner FELIX et al 189-204. Music examples. In German.

Abstract: Examines mathematical relationships (axis symmetry and the golden section), morphological relationships (an organizational interaction of heterogeneous structural principles), and the symbolic meaning with respect to the figures of rhetoric. Compares Bach's practice to the maqam principle, a specific intonation-scheme and summarizing factor. (Armin Schneiderheinze)

Adams, Courtney S.
Erik Satie and Golden Section analysis
Music & letters, vol. 77, no.2 May 1996. p. 242-252. ISSN: 0027-4224

Abstract: Four of Satie's multimovement sets and six individual movements contain Golden Section proportions that are exact or within a 1% deviation. The sets are the Trois gymnopedies, Les trois valses, Avant-dernieres pensees, and the first three nocturnes. The individual movements are Le fils I, Sonneries I and III, and each of the Trois melodies of 1916. The dates of the Golden Section usage fall both early (1887-92) and late (1914-19). It is hard to say whether the early usage was deliberate, instinctive, or coincidental, but the usage in the late period is too precise and continuous to be other than intentional. Three of Satie's close artist friends were also known to be using Golden Section proportions at the same later period.(Yarmey, Kenneth E.)

Hammill, Jennifer Lee
The development of compositional style in the piano music of Federico Mompou
DMA doc., Music: U. of Washington, 1991. UMI No. DA9211559.

Abstract: In Mompou's early works, a highly characteristic idiom emerges: the total reharmonization of repeated untransposed melodies. Attention to motivic detail increases steadily. Mompou learns to vary and develop phrases and as a consequence to construct ever larger internal sections. The works of Mompou's Parisian years (1921-41) are characterized by a larger size and formal scope, a more bravura pianistic idiom, and a more open and extroverted emotional tone. During his later years in Barcelona, intellectual and spiritual concerns come to dominate his style. Pianistic textures are simplified, length is reduced, and the harmonic idiom grows more difficult. Every procedure distills and concentrates. An increasing preoccupation with formal concerns leads to the use of the Golden Mean. Contrary to the conventional view, Mompou developed new technical means throughout his career.(author)

Escot, Pozzi
"Charm'd magic casements," mathematical models in Ligeti
Sonus: A journal of investigations into global musical possibilities, vol. 9, no.1 fall 1988. p. 17-37. ISSN: 0739-229X

Abstract: Mathematical relationships in the music of Continuum for harpsichord and Harmonies underlie the structural proportions of the compositions. In particular, Golden proportions and the Fibonacci series are considered in relation to the unfolding of pitches, intervals, and measured patterns. In both works the pattern of patterns becomes a nebulous constellation of sonic design, yet the mathematical models obtain the overall accomplished plan.(Schreiner, Martin)

HOWAT, R.
Debussy in Proportion: a Musical Analysis
Cambridge 1983

RYSCHAWY, H. / STOLL, R.W.
Die Bedeutung der Zahl in Dufays Kompositionsart: "Nuper rosarum flores"
in: MK 60 (G. Dufay) 1988, 3-73

SANDRESKY, Margaret Vardell
The golden section in three Byzantine motets of Dufay.
Source: Journal of music theory, USA Vol. XXV/2 (fall 1981) 291-306. Illustration, music examples.

Abstract: At least three of Dufay's motets were composed for events involving princely families of the Byzantine Empire. Analysis of these works, composed at widely spaced intervals in his career, reveals the composer's use of the golden section as a structural device. The number 13 is used as the basis of form in each motet. Dufay may have chosen this number as a symbol, since the Byzantine emperor was considered to be the 13th apostle of Christ. (Robert Richart)

ATLAS, Allan W.
Gematria, Marriage Numbers, and Golden Sections in Dufay's "Resvellies vous"
Am (1987) pp. 111-126

BOWERS, Roger
Some reflection upon notation and proportion in Monteverdi's mass and vespers of 1610
ML 73 (1992) pp. 347-98

ROGERS, Michael R
Rehearings: Chopin, prelude in A minor, op. 28, no. 2.
19th-century music, United States Vol. IV/3 (spring 1981) 245-50.

Abstract: Analyzes the harmonic and melodic ambiguities of Chopin's prelude in A minor, op. 28, no. 2 and clarifies them by discussing their relationship to the temporal proportion of the golden section (more fully recognized in the visual arts). Offers for comparison a brief analysis of harmonic/tonal golden ratios in the first movement of Beethoven's piano sonata op. 27, no. 2 ('Moonlight'). Pitch details of many tonal compositions can be illuminated by the discovery of durational codes involving pacing and timing. (Author)

KIRK, Kenneth Patrick
The golden ratio in Chopin's preludes, opus 28.
PhD diss., Music theory: U. Cincinnati, 1987; 138 p. Illustration, music examples, bibliography.

Abstract: Each of the 24 preludes, op. 28, exhibits a turning point (TP) after which musical motion is better characterized as 'toward the end' than 'away from the beginning'. Statistical analysis shows that the proportional placement of the 24 TPs cluster around the Golden ratio (.618). The clustering of the TPs around this point and other approximately Golden sections of the preludes are important to the form and aesthetic of the pieces. (Author)

Naredi-Rainer, Paul
Johann Bernhard Fischer von Erlach und Johann Joseph Fux: Beziehungen zwischen Architektur und Musik im osterreichischen Barock
Translated: Johann Bernhard Fischer von Erlach and Johann Joseph Fux: Connections between architecture and music in the Austrian Baroque
Kunsthistorisches Jahrbuch Graz, vol. 25 1993. p. 275-290.
ISSN: 1010-3856

Abstract: Several analogies exists between the architecture of Fischer von Erlach and the music of Fux: a mix of early and later techniques, specificity of proportions, and the utilization of the Golden Section.

NEUMEYER, David
Tonal form and proportional design in Hindemith's music.
Music theory spectrum, USA Vol. IX (1987) 93-116. Music examples, charts, tables.

Abstract: Hindemith made deliberate formal use of principles of proportional structure in his compositions of the 1940s. Relationships of duration, such as the harmonic mean and Golden Section, elucidate Hindemith's 'balanced cooperation' between tonality and form. Several tonal schemes from Hindemith's sketches, tonal/ formal plans for class composition projects, three proportional schemes, and tonal and proportional analyses of Hindemith's Symphonia serena, the wind septet, and the horn concerto are considered. (Katherine A. Richards)

SMITH, Janet Bass
The golden proportion in the published solo piano music of Vincent Persichetti.
(DMA doc., Music: U. of Missouri, Kansas City, 1987) 165 p. DA 8725702.

Abstract: Golden proportions were found in 71 percent of the sections or movements. In an interview, the composer mentions his interest in the proportion but states that he had not intentionally used the ratio in his works.

SABY, Pierre
Organisations formelles dans Nuits de Iannis Xenakis: Traces du Modulor.
Translated: Formal organization in Nuits by Iannis Xenakis: Traces of the modulor.
In: Nombre d'or et musique. (Frankfurt am Main: Lang, 1988) 139-45. In French.

Abstract: Beyond its great aural clarity, Nuits by Iannis Xenakis employs a subtle formal organization that activates the play of the proportions of the Golden Section and certain key dimensions of the 'modulor' of Le Corbusier. The search by these means for an architectural 'harmony' in music is an important aspect of Nuits.

Moeller, H.
Zeitkonflikte - Multiple Zeiten. Ueberlegungen zum Streichquartett Op. 33 "infinite to be cannot be infinite; infinite anti-be could be infinite" von Horatiu Radulescu (1976/87)
Muenster, 1997?

WILDER, Pamela Wright
Sergei Rachmaninoff: Understanding the composer through the Etudes-tableaux, op. 33.
(DMA doc., Performance practice: U. of Alabama, 1988) 85 p. DA 8826967.

Abstract: A study of performance problems, compositional techniques (especially the use of the Golden Section), and the influence of the painter Arnold Bocklin. (Author)

Musikästhetik

Anmerkung. Bücher zu allen Spielarten der Musikaesthetik und zu diversen Spezialthemen findest Du in jeder MuWi-Bibliothek. Ich habe im Folgenden ein paar englischsprachige Bücher aufgelistet, die in Deutschland selten zu finden sind, mir bei meiner Recherche jedoch hilfreich waren. Manchmal hilft eine Fernleihe, für ganz eilige gibts den Verweis auf die englischsprachige Sektion bei Amazon.de rechts neben den jeweiligen Büchern. Vom "Fubini" aus kann man sich dort auch weiterhangeln...
 

Fubini, Enrico Geschichte der Musikästhetik. Von der Antike bis zur Gegenwart. Metzler, 1997. ISBN: 3476009882

Hofstadter, Albert & Richard Kuhns (ed.) Philosophies of Art and Beauty : Selected Readings in Aesthetics from Plato to Heidegger University of Chicago Press, 1976 ISBN: 0226348121 Review: This anthology of aesthetic texts surveys the key figures from the classic Western tradition in aesthetics beginning with Plato. Since the book's first pulbication in 1964, Hofstadter and Kuhns have been known among theoreticians, historians, and philosophers alike for this book's remarkable contribution to the field of aesthetics. In this book, one will find selections from the ancient Greeks: Plato, Aristotle, and Plotinus; to the medieval: St. Augustine; to the Neoplatonist: Ficino; to the German Idealists: Kant, Schelling, Hegel, Schopenhauer; as well as others like: Shaftesbury, Croce, Nietzsche, Dewey, and Heidegger. This motley assortment is an indisputable must for every art historian, philosopher of art, literary critic, aesthetician, theoretician, and the general scholar. [...]

Cooper, David, Crispin Sartwell and Joseph Margolis (ed.) A Companion to Aesthetics (Blackwell Companions to Philosophy) Blackwell Publishers, 1995 ISBN: 0631196595 Editorial Review: An alphabetically-arranged guide to the entire field of aesthetics, being both a reference and an in-depth examination of current thinking about the arts (aesthetics is used in the broad sense of philosophy of art, with art itself taken so broadly as to include, for instance, literature). The 130 articles survey the most significant concepts, problems, movements, and authors in the philosophy of art, documenting new directions of enquiry as well as traditional topics such as catharsis and the sublime. The articles vary from 1,200 to 4,000 words in length, and one, "Theories of Art," is much longer. Substantial bibliographies accompany each entry.

Sheppard, Anne D. R. Aesthetics : An Introduction to the Philosophy of Art Oxford University Press, 1987 ISBN: 0192891642 Editorial Reviews: Why do people read novels, go to the theater, or listen to beautiful music? Do we seek out aesthetic experiences simply because we enjoy them--or is there another, deeper, reason we spend our leisure time viewing or experiencing works of art? Aesthetics, the first short introduction to the contemporary philosophy of aesthetics, examines not just the nature of the aesthetic experience, but the definition of art, and its moral and intrinsic value in our lives.  Anne Sheppard divides her work into two parts: In the first, she summarizes the major theories defining art and beauty; in the second, she explores the nature of aesthetic evaluation and appreciation. As Sheppard explains, there are three main approaches to defining art, all focused on what art objects share. One proposes that all art imitates something in life, another that it expresses something (such as anger or ecstasy), still another suggests that all art has formal qualities. There is also a fourth which offers that all art shares the quality of beauty.  In the second part, which concentrates on literary art, Sheppard explores such philosophic topics as critical judgment, meaning and truth in literature, and the relationship between art and morals. She raises such questions as whether there is one correct interpretation of a work of art and whether art has a moral effect on its audience and, citing specific examples, explores the views that have been put forth. A wide-ranging, intriguing book, which assumes no formal knowledge on the part of its readers, Aesthetics opens the door to a greater understanding and appreciation of art.

Carroll, Noel Philosophy of Art: A Contemporary Introduction Routledge, 1999 ISBN: 0415159644 Book description: "Philosophy of Art is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It aims to introduce the techniques of analytic philosophy in addition to a selection of the major topics in this field of inquiry. These include the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art, as well as historical approaches to the nature of art. Throughout the book, abstract philosophical theories are illustrated by examples of both traditional and contemporary art, thereby enriching the readers understanding of art theory as well as the appreciation of art."

Adorno, Theodor Wiesengrund ed. Robert Hullot-Kentor  Aesthetic Theory University of Minnesota Press, 1998 ISBN: 0816618003

Baker, N. K. and T. Christensen (ed. and tr.) Aesthetics and the Art of Musical Composition in the German Enlightenment : Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch) Cambridge University Press, 1995 ISBN: 0521360358 Abstract: Selected articles from Johann Georg Sulzer's Allgemeine Theorie der schonen Kunste (1771-74) and Heinrich Christoph Koch's Versuch einer Anleitung zur Composition (1787).

Beardsley, Monroe C. Aesthetics from Classical Greece to the Present: A Short History University of Alabama Press, 1976 ISBN: 0817366237

Eagleton, Terry The Ideology of the Aesthetic Blackwell Publishers, 1990 ISBN: 0631163026 The Publisher: The Ideology of the Aesthetic presents a history and critique of the concept of the aesthetic throughout modern Western thought. As such, this is a critical survey of modern Western philosophy, focusing in particular on the complex relations between aesthetics, ethics and politics. Eagleton provides a brilliant and challenging introduction to these concerns, as characterized in the work of Kant, Schiller, Schopenhauer, Kierkegaard, Marx, Nietzsche, Freud, Heidegger, Lukacs, Adorno, Habermas, and others. Wide in span, as well as morally and politically committed, this is Terry Eagleton´s major work to date. It forms both an original enquiry and an exemplary introduction. Contents : 1. Free Particulars. 2. The Law of the Heart: Shaftesbury, Hume, Burke. 3. The Kantian Imaginary. 4. Schiller and Hegemony. 5. The World as Artefact: Fichte, Schelling, Hegel. 6. The Death of Desire: Arthur Schopenhauer. 7. Absolutte Ironies: Sren Kierkegaard. 8. The Marxist Sublime. 9. True Illusions: Friedrich Nietzshe. 10. The Name of the Father: Sigmund Freud. 11. The Politics of Being: Martin Heidegger. 12. The Marxist Rabbi: Walter Benjamin. 13. Art After Auschwitz: Theodor Adorno. 14. From the Polis to Postmodernism.

Goehr, Lydia The Imaginary Museum of Musical Works : An Essay in the Philosophy of Music Clarendon Press, 1995 (reprint) ISBN: 0198235410 Abstract: The following questions are considered: What is involved in the production and reception of classical music? Why do performers begin with the first note rather than improvising around the material? Why don't members of the audience at a classical concert tap their feet? The idea of Werktreue (faithfulness to the work), first postulated by E.T.A. Hoffmann, accounts for traditional behavior patterns. The early music movement is particularly well placed to offer alternatives to a performance practice governed by the concept of a musical work. (Chadwick, Nicholas)

Kivy, Peter The Fine Art of Repetition : Essays in the Philosophy of Music Cambridge University Press, 1993 ISBN: 0521435986 Abstract: A collection of essays written over a period of 30 years, focusing on issues such as the biological origin of music, the role of music in liberal education, the nature of the musical work and its performance, the aesthetics of opera, emotions in music, and the nature of music itself. (author)

Meyer, Leonard B.  Music, the Arts, and Ideas : Patterns and Predictions in Twentieth-Century Culture University of Chicago Press, 1994 ISBN: 0226521435 Abstract: Meyer makes a valuable statement on aesthetics, criteria for assessing great works of music, compositional practices and theories of the present day, and predictions of the future of Western culture. His postlude, written for the book's twenty-fifth anniversary, looks back at his thoughts on the direction of music in 1967.

Abstract: Based on the Augustinian dualism of experience and knowledge, discusses the history of Gustav Theodor Fechner's 'Asthetik von unten' in the last 100 years. The British philosophy of enlightenment is the source of this empirical theory of aesthetics. Its socio-political relevance is demonstrated by the fervor of his often strongly biased contemporary critics, such as Eduard von Hartmann, Franz Brentano and Benedetto Croce. At the beginning of this century an extraordinary number of experiments in psychology of aesthetics were made, but their results offered no base for later research to formulate a convincing theory. After World War II, research in this field was influenced by information theory, which is criticized by the author, who recomends a return to the ideas of Gestalt psychology. (Author)

Reynolds, Joshua Robert R. Wark (ed.) Discourses on Art Yale University Press, 1998 (based on the edition of 1797) ISBN: 0300073275

Schiller, Friedrich tr. & ed. E. M. Wilkinson & L. A. Willoughby On the Aesthetic Education of Man Clarendon Press, 1983 (1:1795) ISBN: 019815786X

Subotnik, Rose Rosengard  Developing Variations : Style and Ideology in Western Music University of Minnesota Press, 1991 ISBN: 0816618747 Abstract: A reexamination of musicology's agenda, considering the works of Adorno and Kant. An epistemology of music, contextual criticism, the pluralism of musical relationships, empiricism versus ideology, and the politics of musicology are discussed. (Boettcher, Bonna J.)

Cone, Edward T. Musical Form and Musical Performance W.W. Norton & Company, 1968 ISBN: 0393097676