Hostname: page-component-586b7cd67f-l7hp2 Total loading time: 0 Render date: 2024-11-25T19:47:46.319Z Has data issue: false hasContentIssue false
  • English
  • Français

Music, Mind and Programs

Published online by Cambridge University Press:  02 April 2024

Lelio Camilleri
Lelio Camilleri*
Affiliation:
Conservatorio di Musica 'L. Cherubini' Florence
Rights & Permissions [Opens in a new window]

Extract

Core share and HTML view are not available for this content. However, as you have access to this content, a full PDF is available via the ‘Save PDF’ action button.

In the novel Die Automate (Hoffmann, 1957 ed.), the German writer Ernst Theodor Amadeus Hoffmann (1776-1822) describes different kinds of musical automatons which play music with expression and musicality. The whole novel is based on the effect of the automatic performances on the feelings of the two personages and on the appearance of musical automatons which simulate, with their musical skill and expressiveness, the structures of the knowledge and feelings of human beings.

Type
Research Article
Information
Diogenes , Volume 34 , Issue 133 , March 1986 , pp. 47 - 59
Copyright
Copyright © 1986 Fédération Internationale des Sociétés de Philosophie / International Federation of Philosophical Societies (FISP)

References

Bamberger, J. 1976 - “The Development of Musical Intelligence II: Children's Representation of Pitch Relations”, A.I. Memo 401, Cambridge, Mass., MIT.Google Scholar
Becker, J. & A. 1979 - “A Grammar of the Musical Genre Srepegan “, Journal of Music Theory, XXIII, 1.CrossRefGoogle Scholar
Block, N. 1980 - “What is Functionalism”, in Readings in Philosophy of Psychology, Block, N. ed., Cambridge, Mass., Harvard University Press.Google Scholar
Boiles, C. 1967 - “Tepehua Thought-Song: a Case of Semantic Signaling “, Ethnomusicology, XI, 3.Google Scholar
Cabanis, P. 1956 - Oeuvres Philosophiques, Lebec, C. and Cazeneuve, J. ed., Paris.Google Scholar
Camilleri, L. 1985 - “Linguistic Theory and Music”, in Proceedings of the International Symposium on Music, Reason and Emotion, Ghent, University of Ghent, Communication and Cognition.Google Scholar
Chomsky, N. 1965 - Aspects of the Theory of Syntax, Cambridge, Mass., MIT Press.Google Scholar
Chomsky, N. 1975 - Reflections on Language, New York, Pantheon.Google Scholar
Chomsky, N. 1977 - Essays on Form and Interpretation, New York, Elsevier North-Holland.Google Scholar
Chomsky, N. 1980 - Rules and Representations, New York, Columbia University Press.CrossRefGoogle Scholar
Clynes, M. 1983 - “Expressive Microstructure in Music Linked to Living Qualities”, in Sundberg, J. ed., Studies of Music Performance, Stockholm, Royal Swedish Academy of Music.Google Scholar
Dennett, D. 1978 - Brainstorms, Montgomery Vt., Bradford Book.Google Scholar
Fodor, J.A. 1975 - The Language of Thought, New York, Thomas Y. Crowell.Google Scholar
Fodor, J.A. 1983 - The Modularity of Mind, Cambridge, Mass., MIT Press.CrossRefGoogle Scholar
Hardy, T. 1951 - Jude the Obscure, London, Macmillan.Google Scholar
Hoffmann, E.T.A. 1957 - Die Automate, in Poetische Werke: Die Serapionsbrueder, vol. II, Berlin, Walter De Gruyter.Google Scholar
Keiler, A. 1978 - “The Syntax of Prolongation Pt. I”, in Theory Only, III, 5.Google Scholar
Keiler, A. 1983 - “On Some Properties of Schenker's Pitch Derivation “, Music Perception, I, 2.Google Scholar
Kivy, P. 1979 - The Corded Shell: Reflections on Musical Expression, Princeton, Princeton University Press.Google Scholar
Kivy, P. 1984 - “Mattheson as Philosopher of Art”, The Musical Quarterly, LXX 2.CrossRefGoogle Scholar
La Mettrie, J.O. 1970 - “L'Homme Machine”, in Oeuvres philosophiques, Hildesheim, G. Olms.Google Scholar
Lerdahl, F. & Jackendoff, R. 1983 - A Generative Theory of Tonal Music, Cambridge, Mass., MIT Press.Google Scholar
Liberman, M. & Prince, A. 1977 - “On Stress and Linguistic Rhythm”, Linguistic Inquiry, VIII, 2.Google Scholar
Lycan, W. 1981 - “Form, Function and Feel”, Journal of Philosophy, LXXVIII, 1.Google Scholar
Marr, D. 1982 - Vision, San Francisco, Freeman.Google Scholar
Minsky, M. 1975 - “A Framework for Representing Knowledge”, in P. Winston ed., The Psychology of Computer Vision New York, McGraw Hill.Google Scholar
Minsky, M. 1982 - “Music, Mind and Meaning”, in M. Clynes ed., Music, Mind and Brain New York, Plenum Press.Google Scholar
Schenker, H. 1926 - Das Meisterwerk in der Musik, Jahrbuch II, Munich, Drei Masken Verlag (tr. by O. Grossman, 1977 - “Organic Structure in Sonata Form”, in Yeston, M. ed., Readings in Schenkerian Analysis and Other Approaches, New Haven, Yale University Press).Google Scholar
Schenker, H. 1935 - Der Freie Satz, Vienna, Universal Edition (tr. by E. Oster, 1979 - Free Composition, New York, Longman).Google Scholar
Searle, J.R. 1980 - “Minds, Brains and Programs”, in The Behavioral and Brain Sciences, III, 1.Google Scholar
Tarasti, E. 1983 - “De l'Interpretation musicale”, Actes Semiotiques-Documents, V, 42.Google Scholar
Winston, P. 1982 - Artificial Intelligence, Cambridge, Mass., Addison-Wesley.Google Scholar