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Theodore Gracyk and Andrew Kania (eds), The Routledge Companion to Philosophy and Music (London and New York: Routledge, 2011), ISBN 0-415-48603-3 (hb)
Published online by Cambridge University Press: 12 August 2013
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References
1 See Gracyk, Theodore, Rhythm and Noise: an Aesthetics of Rock (London: Tauris, 1996)Google Scholar; Gracyk, , I Wanna Be Me: Rock Music and the Politics of Identity (Philadelphia: Temple University Press, 2001)Google Scholar; Gracyk, , Listening to Popular Music: Or, How I Learned to Stop Worrying and Love Led Zeppelin (Ann Arbor: University of Michigan Press, 2007)CrossRefGoogle Scholar; and Kania, Andrew, ‘Making Tracks: the Ontology of Rock Music’, Journal of Aesthetics and Art Criticism 64 (2006), 401–14CrossRefGoogle Scholar.
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4 Young, James O., Cultural Appropriation and the Arts (Malden, MA: Blackwell, 2008)CrossRefGoogle Scholar.
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11 See Joughin, John J. and Malpas, Simon (eds), The New Aestheticism (Manchester and New York: Manchester University Press, 2003)CrossRefGoogle Scholar; Rancière, Jacques, ‘The Aesthetic Revolution and Its Outcomes’, repr. in Dissensus: On Politics and Aesthetics, ed. and trans. Corcoran, Steven (London: Continuum, 2010), 115–33Google Scholar; and Currie, James, ‘Music After All’, Journal of the American Musicological Society 62/1 (2009), 145–204CrossRefGoogle Scholar.
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13 On the parallel between rasa theory and Kant's aesthetics see Van den Braembussche, Antoon, ‘Sensus communis: Clarifications of a Kantian Concept on the Way to an Intercultural Dialogue Between Western and Indian Thought’, in Sensus communis in Multi- and Intercultural Perspective: on the Possibility of Common Judgments in Arts and Politics, ed. Kimmerle, Heinz and Oosterling, Henk (Würzburg: Könighausen & Neumann, 2000), 17–30Google Scholar.