Editing Definition of music (section)

==References==
{{reflist|18em}}

'''Sources'''
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*{{wikicite|ref={{harvid|Ashby|2004}}|reference=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}}.}}
* {{wikicite|ref={{harvid|Berio, Dalmonte, & Varga|1985}}|reference=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}}.}}
* {{wikicite|ref={{harvid|Burton|2015}}| reference = 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}}.}}
*{{wikicite|ref={{harvid|Chou|1966a}}|reference=[[Chou Wen-chung]]. 1966a. [https://www.jstor.org/stable/832383 "Open Rather Than Bounded"]. ''[[Perspectives of New Music]]'' 5, no. 1 (Autumn–Winter): 1–6.}}
*{{wikicite|ref={{harvid|Chou|1966b}}|reference=Chou Wen-chung. 1966b. [https://www.jstor.org/stable/741034 "Varèse: A Sketch of the Man and His Music"]. ''[[The Musical Quarterly]]'' 52, no. 2 (April): 151–170.}}
*{{wikicite|ref={{harvid|Clifton|1983}}|reference=Clifton, Thomas. 1983. ''Music as Heard: A Study in Applied Phenomenology''. New Haven and London: Yale University Press. {{ISBN|0-300-02091-0}}.}}
* {{wikicite|ref={{harvid|Concise Oxford Dictionary|1992}}|reference=''The Concise Oxford Dictionary''. Allen, R. E., ed. 1992. Clarendon Press. Oxford: 781}}
* {{wikicite|ref={{harvid|Dodd|2013}}|reference=Dodd, Julian. 2013. "[https://www.youtube.com/watch?v=WTCVnKROlos&t=13m38s Is John Cage's 4′33″ Music?]". You Tube/Tedx (accessed 14 July 2014).}}
* {{wikicite|ref={{harvid|Gann|2010}}|reference=[[Kyle Gann|Gann, Kyle]]. 2010. ''No Such Thing as Silence: John Cage's 4′33″''. New Haven and London: Yale University Press. {{ISBN|0300136994}}.}}
* {{wikicite|ref={{harvid|Goldman|1961}}|reference=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.}}
*{{wikicite|ref={{harvid|Hagerty|2007}}|reference=Hegarty, Paul, 2007. ''Noise/Music: A History''. Continuum International Publishing Group. London: 3-19}}
* {{wikicite|ref={{harvid|Kania|2014}}|reference=Kania, Andrew. 2014. "[http://plato.stanford.edu/archives/spr2014/entries/music/ The Philosophy of Music]", ''The Stanford Encyclopedia of Philosophy'', Spring 2014 edition, edited by Edward N. Zalta.}}
* {{wikicite|ref={{harvid|Leon-Portilla|2007}}|reference=[[Miguel Leon-Portilla|Leon-Portilla, Miguel]]. 2007. "La música de los aztecas / Music Among Aztecs", ''Pauta'', no. 103:7–19.}}
* {{wikicite|ref={{harvid|Levitin|2006}}|reference=Levitin, Daniel J. 2006. ''[[This Is Your Brain on Music|This Is Your Brain on Music: The Science of a Human Obsession]]''. New York: Dutton. {{ISBN|0-525-94969-0}}.}}
* {{wikicite|ref={{harvid|Molino|1975}}|reference=[[Jean Molino|Molino, Jean]]. 1975. "Fait musical et sémiologue de la musique", ''Musique en jeu'', no. 17:37&ndash;62.}}
* {{wikicite|ref={{harvid|Nattiez|1990}}|reference=[[Jean-Jacques Nattiez|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}}.}}
*{{wikicite|ref={{harvid|Nettl|1989}}|reference=[[Nettl, Bruno]]. 1989. ''Blackfoot Musical Thought: Comparative Perspectives''. Ohio: The Kent State University Press. {{ISBN|0-87338-370-2}}.}}
* {{wikicite|ref={{harvid|Nettl|2005}}|reference=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}}.}}
* {{wikicite|ref={{harvid|Priest|2013}}|reference=Priest, Eldritch. 2013. ''Boring Formless Nonsense: Experimental Music and The Aesthetics of Failure''. New York: Bloomsbury Publishing. {{ISBN|9781441122131}}.}}
* {{wikicite|ref={{harvid|Robertson–de Carbo|1976}}|reference=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.}}
* {{wikicite|ref={{harvid|Rosch|1973}}|reference=[[Eleanor Rosch|Rosch, Eleanor]]. 1973. "Natural Categories". ''[[Cognitive Psychology (journal)|Cognitive Psychology]]'' 4, no. 3 (May): 328–350.}}
* {{wikicite|ref={{harvid|Sakata|1983}}|reference=Sakata, Lorraine. 1983. ''Music in the Mind, The Concepts of Music and Musicians in Afghanistan''. Kent: Kent State University Press. {{ISBN|087338265X}}}}
* {{wikicite|ref={{harvid|Schafer|1996}}|reference=[[R. Murray Schafer|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).}}
* {{wikicite|ref={{harvid|Varèse and Chou|1966}}|reference=[[Edgard Varèse|Varèse, Edgard]], and [[Chou Wen-chung]]. 1966. [https://www.jstor.org/stable/832385 "The Liberation of Sound"]. ''[[Perspectives of New Music]]'' 5, no. 1 (Autumn–Winter): 11–19.}}
* {{wikicite|ref={{harvid|Watson|2009}}|reference=[[Ben Watson (music writer)|Watson, Ben]]. 2009. "Noise as Permanent Revolution". In Iles, Anthony (ed.). [https://blogs.audio-lab.org/audiolab/noise_capitalism.pdf ''Noise & Capitalism'']. Arteleku Audiolab. pp. 104-121.}}
* {{wikicite|ref={{harvid|Xenakis|1971}}|reference=[[Iannis Xenakis|Xenakis, Iannis]]. 1971. ''Formalized Music: Thought and Mathematics in Composition''. Bloomington and London: Indiana University Press.}}
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