音乐的定义
参考资料

引用
↑  Kania 2014.
↑  Concise Oxford Dictionary 1992.
↑  Priest 2013，132.
↑  Hagerty 2007.
↑  Dodd 2013.
↑  Gann 2010.
↑  Nettl 2005.
↑  Ashby 2004，4.
来源
Ashby, Arved, ed. 2004. The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology. Eastman Studies in Music 29. Rochester, New York: University of Rochester Press. ISBN 1-58046-143-3.
Berio, Luciano, Rossana Dalmonte, and Bálint András Varga. 1985. Two Interviews, translated and edited by David Osmond-Smith. New York: Marion Boyars. ISBN 0-7145-2829-3.
Burton, Russell L. 2015. "The Elements of Music: What Are They, and Who Cares? In Music: Educating for Life: Adelaide, 30 September – 2 October 2015: ASME XXth National Conference Proceedings, edited by Jennifer Rosevear and Susan Harding, 22–28. Parkville, Victoria: The Australian Society for Music Education. ISBN 9780980379242.
Chou Wen-chung. 1966a. "Open Rather Than Bounded". Perspectives of New Music 5, no. 1 (Autumn–Winter): 1–6.
Chou Wen-chung. 1966b. "Varèse: A Sketch of the Man and His Music". The Musical Quarterly 52, no. 2 (April): 151–170.
Clifton, Thomas. 1983. Music as Heard: A Study in Applied Phenomenology. New Haven and London: Yale University Press. ISBN 0-300-02091-0.
The Concise Oxford Dictionary. Allen, R. E., ed. 1992. Clarendon Press. Oxford: 781
Dodd, Julian. 2013. "Is John Cage's 4′33″ Music?". You Tube/Tedx (accessed 14 July 2014).
Gann, Kyle. 2010. No Such Thing as Silence: John Cage's 4′33″. New Haven and London: Yale University Press. ISBN 0300136994.
Goldman, Richard Franko. 1961. "Varèse: Ionisation; Density 21.5; Intégrales; Octandre; Hyperprism; Poème Electronique. Instrumentalists, cond. Robert Craft. Columbia MS 6146 (stereo)" (in Reviews of Records). The Musical Quarterly 47, no. 1. (January):133–134.
Hegarty, Paul, 2007. Noise/Music: A History. Continuum International Publishing Group. London: 3-19
Kania, Andrew. 2014. "The Philosophy of Music", The Stanford Encyclopedia of Philosophy, Spring 2014 edition, edited by Edward N. Zalta.
Leon-Portilla, Miguel. 2007. "La música de los aztecas / Music Among Aztecs", Pauta, no. 103:7–19.
Levitin, Daniel J. 2006. This Is Your Brain on Music: The Science of a Human Obsession. New York: Dutton. ISBN 0-525-94969-0.
Molino, Jean. 1975. "Fait musical et sémiologue de la musique", Musique en jeu, no. 17:37–62.
Nattiez, Jean-Jacques. 1990. Music and Discourse: Toward a Semiology of Music, translated by Carolyn Abbate. Princeton: Princeton University Press. ISBN 0-691-09136-6.
Nettl, Bruno. 1989. Blackfoot Musical Thought: Comparative Perspectives. Ohio: The Kent State University Press. ISBN 0-87338-370-2.
Nettl, Bruno. 2005. "The Art of Combining Tones: The Music Concept". The Study of Ethnomusicology. 2nd ed. Chicago: University of Illinois Press, pp. 26–37 ISBN 0-252-07278-2.
Priest, Eldritch. 2013. Boring Formless Nonsense: Experimental Music and The Aesthetics of Failure. New York: Bloomsbury Publishing. ISBN 9781441122131.
Robertson–de Carbo, Carol Elizabeth. 1976. "Tayil as Category and Communication among the Argentine Mapuche: A Methodological Suggestion". Yearbook of the International Folk Music Council 8:35–42.
Rosch, Eleanor. 1973. "Natural Categories". Cognitive Psychology 4, no. 3 (May): 328–350.
Sakata, Lorraine. 1983. Music in the Mind, The Concepts of Music and Musicians in Afghanistan. Kent: Kent State University Press. ISBN 087338265X
Schafer, R. Murray. 1996. "Music and the Soundscape", in Classic Essays on Twentieth-Century Music: A Continuing Symposium, edited by Richard Kostelanetz and Joseph Darby, with Matthew Santa, pp. 221-231 New York: Schirmer Books; London: Prentice Hall International. ISBN 0-02-864581-2 (pbk).
Varèse, Edgard, and Chou Wen-chung. 1966. "The Liberation of Sound". Perspectives of New Music 5, no. 1 (Autumn–Winter): 11–19.
Watson, Ben. n.d. "Noise as Permanent Revolution". [需要完整来源]
Xenakis, Iannis. 1971. Formalized Music: Thought and Mathematics in Composition. Bloomington and London: Indiana University Press.