La improvisación musical y la teoría tipo/instancia de las obras musicales

Gómez Sánchez, Tatiana

dc.contributor.advisor	Espejo Serna,Juan Camilo
dc.contributor.author	Gómez Sánchez, Tatiana
dc.date.accessioned	2019-09-24T19:48:34Z
dc.date.available	2019-09-24T19:48:34Z
dc.date.issued	2019-08-05
dc.identifier.uri	http://hdl.handle.net/10818/37410
dc.description	109 páginas	es_CO
dc.description.abstract	El estudio filosófico permite adentrarse en una gran variedad de temas y objetos, de los cuales formula distintas preguntas y problemas; cuestiones en las que se adentra buscando encontrar un poco de luz. Esta versatilidad que tiene la filosofía para adoptar una cuestión como suya es una cualidad que, con respeto y cuidado, pretendo tomar como punto de partida de este estudio. En este caso, el tema u objeto a tratar será tomado de una disciplina en particular: la música. Es, entonces, el estudio filosófico de la música la primera respuesta a la pregunta qué estamos haciendo en este trabajo. La filosofía de la música estudia las cuestiones fundamentales acerca de la naturaleza y valor de la música, así como también de nuestra experiencia con ella (Kania 2017). Estas cuestiones pueden referirse al lenguaje, al significado y expresividad de la música, preguntándose, por ejemplo, qué expresa una obra musical, si tiene o no un significado, y, de ser así, si tiene o determina algún tipo de valor.	es_CO
dc.language.iso	spa	es_CO
dc.publisher	Universidad de La Sabana	es_CO
dc.rights	Attribution-NonCommercial-NoDerivatives 4.0 International	*
dc.rights.uri	http://creativecommons.org/licenses/by-nc-nd/4.0/	*
dc.source	Universidad de La Sabana
dc.source	Intellectum Repositorio Universidad de La Sabana
dc.source	Universidad de La Sabana
dc.source	Intellectum Repositorio Universidad de La Sabana
dc.subject	Filosofía	es_CO
dc.subject	Música	es_CO
dc.subject	Comunicación	es_CO
dc.title	La improvisación musical y la teoría tipo/instancia de las obras musicales	es_CO
dc.type	bachelorThesis	es_CO
dc.publisher.program	Filosofía
dc.publisher.department	Facultad de Filosofía y Ciencias Humanas
dc.rights.accessRights	openAccess
dc.creator.degree	Filósofo
dcterms.references	Alperson, P. (1984). On musical improvisation. Journal of Aesthetics and Art Criticism, 43(1), 17-29.	eng
dcterms.references	Alperson, P. (2010). A topography of improvisation. The Journal of Aesthetics and Art Criticism, 68(3), 273-280	eng
dcterms.references	Apel, W. (1969). Harvard Dictionary of Music. 2d. Cambridge, Mass: Belknap Press of Harvard University Press.	eng
dcterms.references	Armstrong, D. M. (1989). Universals: An Opinionated Introduction. Boulder: Westview Press.	eng
dcterms.references	Bailey, D. (1993). Improvisation: Its Nature and Practice in Music. United States of America: Da Capo Press.	eng
dcterms.references	Balaguer, M. (2016). Platonism in Metaphysics. Edward N. Zalta (Ed.), The Stanford Encyclopedia of Philosophy. Recuperado de: https://plato.stanford.edu/archives/spr2016/entries/platonism/	eng
dcterms.references	Berendt, J. (1994). El Jazz: De Nueva Orleans al Jazz Rock. Santafé de Bogotá: Fondo de Cultura Económico.	spa
dcterms.references	Berliner, P. (1994). Thinking in Jazz: The Infinite Art of Improvisation. Chicago: The University of Chicago Press.	eng
dcterms.references	Bertinetto, A. (2012). Paganini Does Not Repeat. Musical Improvisation and the Type/Token Ontology. Teorema, 31(3), 105-126.	eng
dcterms.references	Brown, L. (1996). Musical Works, Improvisation, and the Principle of Continuity. Journal of Aesthetics and Art Criticism, 54(4), 353-369.	eng
dcterms.references	Brown, L. (2000). Feeling my way: Jazz Improvisation and Its Vicissitudes–A Plea for Imperfection. The Journal of Aesthetics and Art Criticism, 68(3), 273-280.	eng
dcterms.references	Caplan, B. & Matheson, C. (2006). Defending Musical Perdurantism. British Journal of Aesthetics, 46(1), 59-69.	eng
dcterms.references	Davies, S. (2001). Musical Works and Performances: A Philosophical Exploration, Oxford: Oxford University Press.	eng
dcterms.references	Dodd, J. (2007). Works of Music: An Essay in Ontology. Oxford: Oxford University Press.	eng
dcterms.references	Dodd, J. (2008). Musical Works: Ontology and Meta-Ontology. Philosophy Compass, 3(6), 1113-1134.	eng
dcterms.references	Dyck, J. (2014). Perfect Compliance in Musical History and Musical Ontology. The British Journal of Aesthetics, 54(1), 31-47.	eng
dcterms.references	Goodman, N. (1968). Languages of Art: An Approach to a Theory of Symbols. United States of America: The Bobbs-Merrill Company Inc.	eng
dcterms.references	Howell, R. (2002). Types, Indicated and Initiated. British Journal of Aesthetics, 42(2), 105-127.	eng
dcterms.references	Jeppesen, K. (1939). Counterpoint. The Polyphonic Vocal Style of the Sixteenth Century. New York: Dover Publications.	eng
dcterms.references	Kamien, R. (1976). Music: An appreciation. New York: McGraw-Hill.	eng
dcterms.references	Kania, A. (2008). The Methodology of Musical Ontology: Descriptivism and Its Implications. British Jounal of Aesthetics, 48(10), 426-444.	eng
dcterms.references	Kania, A. (2011). All Play and No Work: An Ontology of Jazz. Journal of Aesthetics and Art Criticism, 69(4), 391-403.	eng
dcterms.references	Kania, A. (2017). The Philosophy of Music. Edward N. Zalta (Ed.), The Stanford Encyclopedia of Philosophy. Recuperado de: https://plato.stanford.edu/entries/music/	eng
dcterms.references	Kaplan, D. (1990). Words. Proceedings of the Aristotelian Society, 64(1), 93-119.	eng
dcterms.references	Kerman, J., Tomlinson, G., & Kerman, V. (2012). Listen. Boston: Bedford/St. Martin's.	eng
dcterms.references	Kernfeld, B. (1988). Harmony. In The New Grove Dictionary of Jazz. (Vol 2). London: Macmillan.	eng
dcterms.references	Kivy, P. (1980). The Corded Shell: Reflections on Musical Expression. Princeton, NJ: Princeton University Press.	eng
dcterms.references	Kivy, P. (1983a). Platonism in Music: A Kind of Defense. Grazer Philosophische Studien, 19(1), 109-129.	eng
dcterms.references	Kivy, P. (1983b). Platonism in Music: Another Kind of Defense. American Philosophical Quarterly, 24(3), 245-252.	eng
dcterms.references	Kivy, P. (1984). The Corded Shell: Reflections on Musical Expression. Philosophy and Rhetoric, 17(1), 47-55.	eng
dcterms.references	Kivy, P. (1989). Sound Sentiment: An Essay on the Musical Emotions, including the complete text of “The Corded Shell”. Philadelphia: Temple University Press.	eng
dcterms.references	Kivy, P. (1993). The Fine Art of Repetition: Essays in the Philosophy of Music. Cambridge: Cambridge University Press.	eng
dcterms.references	Levinson, J. (1978). Properties and Related Entities. Philosophy and Phenomenological Research, 39(1), 1-22.	eng
dcterms.references	Levinson, J. (1980). What a Musical Work Is. Journal of Philosophy, 77(1), 5-28.	eng
dcterms.references	Levinson, J. (1992). Review of D. M. Armstrong’s Universals: An Opinionated Introduction. The Philosophical Review, 101(3), 654-660.	eng
dcterms.references	Predelli, S. (1995). Against Musical Platonism. British Journal of Aesthetics, 35(4), 338-350.	eng
dcterms.references	Predelli, S. (1999a). Goodman and the Score. British Journal of Aesthetics, 39(2), 138-147.	eng
dcterms.references	Predelli, S. (1999b). Goodman and the Wrong Note Paradox. British Journal of Aesthetics, 39(4), 364-375.	eng
dcterms.references	Predelli, S. (2001). Musical Ontology and the Argument from Creation. British Journal of Aesthetics, 41(3), 279-292.	eng
dcterms.references	Loux, M. (2006). Metaphysics: A Contemporary Introduction. New York: Routledge.	eng
dcterms.references	Moelants, D. (Ed.). (2014). Improvising Early Music: The History of Musical Improvisation from the Late Middle Ages to the Early Baroque. Leuven, Belgium: Leuven University Press.	eng
dcterms.references	Nirala, S. (2015). Cadenza. In The Editors of Encyclopaedia Britannica (Ed.), Encyclopaedia Britannica. Recuperado de: https://www.britannica.com/art/cadenza	eng
dcterms.references	Norden, H. (1969). Fundamental Counterpoint. Boston: Crescendo Publishing Company.	eng
dcterms.references	Randel, D. M. (1986). The New Harvard Dictionary of Music. Cambridge: Belknap Press of Harvard University Press.	eng
dcterms.references	Sadie, S., & Tyrrell, J. (2001). Improvisation. In The New Grove Dictionary of Music and Musicians. (Vol 12, pp. 94-133). London: Macmillan.	eng
dcterms.references	Sampaolo, M. (2014). Variation. In The Editors of Encyclopaedia Britannica (Ed.), Encyclopaedia Britannica. Recuperado de: https://www.britannica.com/art/musical variation	eng
dcterms.references	Stecker, R. (2003). Interpretation and Construction: Art, Speech, and the Law. Malden, MA: Blackwell.	eng
dcterms.references	Rohrbaugh, G. (2003). Artworks as Historical Individuals. European Journal of Philosophy, 11(2), 177-205.	eng
dcterms.references	Rumfitt, I. (1993). Content and Context: The Paratactic Theory Revisited and Revised. Mind, 102(407), 429-454.	eng
dcterms.references	Thomasson, A. (2006). Debates about the Ontology of Art: What are We Doing Here? Philosophy Compass, 1(3), 245-255.	eng
dcterms.references	Wetzel, L (2018). Types and Tokens. Edward N. Zalta (Ed.), The Stanford Encyclopedia of Philosophy. Recuperado de https://plato.stanford.edu/entries/types-tokens/	eng
dcterms.references	Wollheim, R. (1968). Art and its Objects. Cambridge: Cambridge University Press.	eng
dcterms.references	Wolterstorff, N. (1980). Works and Worlds of Art. Oxford: Clarendon Press.	eng
dcterms.references	Young, J. & Matheson, C. (2000). The Metaphysics of Jazz. Journal of Aesthetics and Art Criticism, 58(2), 125-134.	eng
dcterms.references	Zemach, E. (1970). Four Ontologies. Journal of Philosophy, 67(8), 231-247.	eng