Digitized information and network have made an enormous impact on the music and movie industries. Internet piracy is popular and has greatly threatened the companies in these industries. This study tests Hunt-Vitell’s ethical decision model and attempts to understand why and how people share unauthorized music files with others in the peer-to-peer (P2P) network. The norm of anti-piracy, the ideology of free software, the norm of reciprocity, and the ideology of consumer rights are proposed as four deontological norms (...) related to using P2P systems. The model is tested using a scenario survey with four alternatives; the results indicate that the deontological norm of anti-piracy is not a main factor in affecting P2P users’ ethical considerations regarding sharing files with others. This finding suggests that to protect their property rights, record companies should try to realize the consumer benefits brought via new digital and network technology, instead of simply declaring their intellectual property and resisting the innovations resulting from new technologies. (shrink)

P2P (Peer-to-Peer) file-sharing or file-swapping has led to many disputes about copyright laws and has become “a worldwide problem.” This paper first describes the development of P2P and then discusses some of the disputes concerning Chinese copyright laws. Given the difficulties in implementing copyright laws in China and many other countries, this paper next analyzes the reasons why and the conditions under which P2P developed, its impact on music production, and some other general economic, social, and (...) ethical implications of this technology. The paper recognizes, on the one hand, the significance of P2P as an advanced technology for popularizing music and sharing human and spiritual values with more people, on the other hand, it points to several critical issues caused by the current illegal use of this technology for sharing copyrighted music files: e.g., the serious damage to music production and the infringement on copyright holders’ interests. It is hypothesized argue that the technological conditions, social demands, and problems with the current type of music production have deepened the present crisis, and a new type of music production is sought. Legislation should enhance such a development, support P2P technology in the interest of the public, protect copyrights, and regulate P2P stakeholders’ interests in a balanced manner according to the ethics of law. (shrink)

We investigate the entrepreneurial opportunities and ethical dilemmas presented by technological turbulence. More specifically we investigate the line between Baumol’s [J. Polit. Econ. 98 (1990) 893] productive (e.g. innovation), unproductive (e.g. rent seeking) and destructive (e.g. criminal) entrepreneurship through three examples of Internet innovation – spam (destructive), music file sharing (unproductive), and Internet pharmacies (potentially productive). The emergence of accessible Internet technologies, under present norms, has created the potential for all three entrepreneurial activities. Because of the propensity (...) for self-serving biases and for bending the rules, the need for creativity in overcoming obstacles and overall liabilities of newness, entrepreneurs are likely to challenge established industrial morals and laws. Unlike new entrants, incumbents must abide by the currently accepted norms, and thus suffer from “liabilities of oldness”. The challenge for new entrants is to change sociopolitical legitimacy, whereas incumbents need to defend the established norms. We discuss competitive and other issues that result from technological turbulence and innovation. (shrink)

Push: Software Design and the Cultural Politics of Music Production shows how changes in the design of music software in the first decades of the twenty-first century shaped the production techniques and performance practices of artists working across media, from hip-hop and electronic dance music to video games and mobile apps. Emerging alongside developments in digital music distribution such as peer-to-peer file sharing and the MP3 format, digital audio workstations like FL Studio and Ableton (...) Live introduced design affordances that encouraged rapid music creation workflows through flashy, "user-friendly" interfaces. Meanwhile, software such as Avid's Pro Tools attempted to protect its status as the "industry standard," "professional" DAW of choice by incorporating design elements from pre-digital music technologies. Other software, like Cycling 74's Max, asserted its alterity to "commercial" DAWs by presenting users with nothing but a blank screen. These are more than just aesthetic design choices. Push examines the social, cultural, and political values designed into music software, and how those values become embodied by musical communities through production and performance. It reveals ties between the maximalist design of FL Studio, skeuomorphic design in Pro Tools, and gender inequity in the music products industry. It connects the computational thinking required by Max, as well as iZotope's innovations in artificial intelligence, with the cultural politics of Silicon Valley's "design thinking." Finally, it thinks through what happens when software becomes hardware, and users externalize their screens through the use of MIDI controllers, mobile media, and video game controllers. Amidst the perpetual upgrade culture of music technology, Push provides a model for understanding software as a microcosm for the increasing convergence of globalization, neoliberal capitalism, and techno-utopianism that has come to define our digital lives. (shrink)

This paper examines the current position of copyright for the music industry in the light of innovation and diffusion of technologies which enable audio file sharing amongst web users. We note that there currently appears to be conflicting assessments between the major corporations and the many small firms in Europe with regard to the business potential for online music. In particular, we show that the convergence of technologies together with the emergence of particular practices of ‘net (...) culture’ have posed a number of marketing opportunities and threats for industry incumbents. The role of the Napster program, as well as subsequent innovations in peer‐to‐peer software, is examined together with the responses that have been made by different sections of industry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Children’s Home Musical Experiences Across the World ed. by Beatriz Ilari, Susan YoungAmy Christine BeegleBeatriz Ilari and Susan Young, eds., Children’s Home Musical Experiences Across the World (Bloomington, IN: Indiana University Press, 2016)Historically, most studies of children’s musical learning have been informed by stage theories of developmental psychology and focused on school music or private instrumental lesson contexts. Over the past few decades, scholars have conducted research (...) that increasingly explores children’s involvement with music in contexts outside of formal learning settings, utilizing methods and models from ethnomusicology, sociology, social psychology, and/or cultural psychology. Nine individually authored chapters in the volume, Children’s Home Musical Experiences Across the World, edited by Beatriz Ilari and Susan Young, convey results, applications, and extensions of one such project that reaches beyond the conventional ethnographic music education study.The bulk of this collection contains findings and interpretations from a collaborative project called MyPlace, MyMusic, followed by several additional chapters that provide descriptions and narratives from subsequent related projects. The original project included fourteen scholars from the International Society of Music Education-Early Childhood Commission, who conducted in-home observations and interviews with parents and children in order to examine the nature of, influences on, and meaning of musical activities that took place in the homes of middle-class seven-year-olds in diverse locations, including Brazil, Denmark, [End Page 105] Greece, Israel, Kenya, the Netherlands, Singapore, Spain, South Africa, Taiwan, the U.K., and the United States.Importantly, the project’s designers attempted to avoid complications of transcultural developments by asking each researcher to select children whose families had not recently migrated to their country/locality. The seventeen participating children from twelve countries were also of the same ethnicity and lived in the same “locality” as each researcher in order to ease communication during in-home observations and interviews. Results shed light on issues of children’s family life, schooling, identity, gender, and social class.This project presents a unique contribution to the field of music education in a number of ways. First, most previous studies of music in the homes of children have centered around preschoolers, toddlers, and infants, whereas the present project focuses on seven-year-old children, whose age places them on the cusp of crossing from early to middle childhood. Second, most previous music education researchers have considered issues of social class, ethnicity, and race as independent variables, but the methodology for this project calls for observation and description of each child in his or her home first, followed by comparison of the “cases” to each other. Third, the researchers utilize a Wiki platform to share and collaboratively interpret data collected from home lives of children (photographs, video and audio recordings, texts, and pdf files) among researchers from different countries.The volume is organized into three major sections. Susan Young and Jèssica Pérez-Moreno set the scene in the first two chapters by describing the theoretical underpinnings and methodology for the MyPlace, MyMusic project. The second section of the book includes four chapters in which several individual researchers interpret the project’s data based upon the themes of children’s private musical worlds; belonging/identity/gendered meanings of children’s music making; perspectives and influences of parents; and the role of social class on children’s musical lives. The last three chapters of the book provide detailed descriptions of projects and extensions that developed after the MyPlace, MyMusic project.Following the introductory chapter, in which Ilari and Young explain the background, rationale, goals, and methods of the MyPlace, MyMusic project and provide a reader-friendly table that presents the cultural background and “sources of musical stimulation in the home” for each participating child,1 Susan Young outlines the theoretical and analytical frameworks for the project in the first chapter. Rather than viewing children’s learning as developing and socializing into adulthood, the project researchers were encouraged to look at children as being instead of becoming, as subjects, rather than objects of research, and as having opportunities for agency that are contextual. This theoretical framework stems from the field of Childhood Studies (as cultivated in Scandinavia [End Page 106] and... (shrink)

This essay expands upon an earlier work in which we analyzed the implications of the Verizon v RIAA case for P2P Networks vis-à-vis concerns affecting personal privacy and intellectual property. In the present essay we revisit some of the concerns surrounding this case by analyzing the intellectual property and privacy issues that emerged in the MGM Studios v. Grokster case. These two cases illustrate some of the key tensions that exist between privacy and property interests in cyberspace. In our analysis, (...) we contrast Digital Rights Management and Interoperability and we examine some newer distribution models of sharing over P2P networks. We also analyze some privacy implications in the two cases in light of the theory of privacy as contextual integrity. (shrink)

PurposeThe paper suggests overcoming the polarization of today's debate on peer‐to‐peer systems by defining a fair balance between the principle of precaution and the principle of openness. Threats arising from these file sharing applications‐systems should not be a pretext to limit freedom of research, speech or the right “freely to participate in the cultural life of the community”, as granted by the Universal Declaration of Human Rights from 1948. The paper aims to take sides in today's debate.Design/methodology/approachThe paper (...) adopts an interdisciplinary approach, including network theory, law and ethics. The method draws on both theoretical and empirical material so as to stress the paradox of the principle of precaution applied to P2P systems and why the burden of proof should fall on the party proposing that one refrain from action.FindingsCensors and opponents of P2P systems who propose to apply the principle of precaution to this case deny the premise upon which that principle rests. “Levels of evidence” required by the precautionary principle show that – in many cases in which the outcomes of technology are ignored – another principle is needed for orienting action, namely, the principle of openness.Social implicationsAlarm about how P2P systems undermine crucial elements of the societies often led to the ban of this technology. The paper illustrates why it should not be the case: rather than shutting these networks down, they should be further developed.Originality/valueThe paper provides the comprehensive picture of a far too often fragmented debate. (shrink)

Students are using file sharing sites to breach academic integrity in light of the Covid-19 pandemic. This paper analyses the use of one such site, Chegg, which offers “homework help” and other academic services to students. Chegg is often presented as a file sharing site in the academic literature, but that is just one of many ways in which it can be used. As this paper demonstrates, Chegg can and is used for contract cheating This is (...) despite the apparent existence of an Honour Code on Chegg which asks students not to breach academic integrity. With pandemic led safety considerations leading to increased online teaching and assessment, the paper analyses data relating to how Chegg is used by students in five STEM subjects, namely Computer Science, Mechanical Engineering, Electrical Engineering, Physics and Chemistry. The results show that students are using Chegg to request exam style questions. They demonstrate that contract cheating requests can be put live and answered within the short duration of an examination. The number of student requests posted for these five subjects increased by 196.25% comparing the time period April 2019 to August 2019 with the period April 2020 to August 2020. This increase corresponds with the time when many courses moved to be delivered and assessed online. The growing number of requests indicates that students are using Chegg for assessment and exam help frequently and in a way that is not considered permissible by universities. The paper concludes by recommending that academic institutions put interventions in place to minimise the risk to educational standards posed by sites such as Chegg, particularly since increased online teaching and assessment may continue after the pandemic. (shrink)

Individuals are downloading copyrighted materials at escalating rates (Hill 2007; Siwek 2007). Since most materials shared within these networks are copyrighted works, providing, exchanging, or downloading files is considered to be piracy and a violation of intellectual property rights (Shang et al. 2008). Previous research indicates that personal moral philosophies rooted in moral absolutism together with social context may impact decision making in ethical dilemmas; however, it is yet unclear which motivations and norms contextually impact moral awareness in a peer-to-peer (...) (P2P) file sharing context (Shang et al. 2008). In sum, factors affecting the decision to share copyrighted material require further clarification and investigation (Shang et al. 2008). The purpose of this study was to use a consumer-based scenario and multiple ethics measures to explore how idealism, formalism, and perceived social consensus impact users’ propensity to recognize that the sharing of copyrighted media through P2P networks was an ethical issue and their subsequent ethical intentions. Results showed that high levels of idealism and formalism were associated with an increased recognition that file sharing was an ethical issue, but neither construct had a direct effect on ethical intention. Strong social consensus among respondents that other people consider file sharing to be unethical was also positively related to the recognition that file sharing was an ethical issue, and ethical recognition was a moderate predictor of intention not to engage in file sharing. Finally, a post hoc mediation analysis indicated that idealism, formalism, and social consensus operated through recognition of an ethical issue to impact ethical intention (indirect-only mediation). (shrink)

Purpose – The purpose of this paper is to develop a novel approach for the ethical analysis of data collected from an online file-sharing site known as The PirateBay. Since the creation of Napster back in the late 1990s for the sharing and distribution of MP3 files across the Internet, the entertainment industry has struggled to deal with the regulation of information sharing at large. Added to the ethical questions of censorship and distributive justice are questions (...) related to the use of data collected from such file-sharing sites for research purposes. Design/methodology/approach – The approach is based on previous work analysing the use of data from online social networking sites and involves value analysis of the collection of data throughout the data’s various life cycles. Findings – This paper highlights the difficulties faced when attempting to apply a deontological or utilitarian approach to cases like the one used here. With this in mind, the authors point to a virtue ethics approach as a way to address ethical issues related to data sharing in the face of ever-changing data gathering and sharing practices. Practical implications – This work is intended to provide a concrete approach for ethical data sharing practices in the domain of Internet security research. Originality/value – The approach presented in this paper is a novel approach combining the insights from: the embedded values concept, value-sensitive design and the approach of the embedded ethicist. (shrink)

In the flow of information concerning Peer-to-Peer, it is difficult to get away from the apparently inexhaustible topic of music file sharing. This article invites us to refocus our attention towards the vast diversity of possible uses of the P2P technologies. After a survey of a few examples, the article denounces the ongoing confusion between an innovative and promising technology and the uses to which it can be subjected.

In a supply chain system, the prices with which the suppliers supply its local commodity to the retailers should satisfy the requirements of the retailers and the consumers. The supply and demand scheme satisfying these requirements is reduced into fuzzy relation inequalities with min-product composition. Due to the difference between the min-product composition and the classical max-t-norm one, we first study the resolution of such min-product FRI system. For optimization management in the supply chain system, we further investigate a maximin (...) programming problem subject to the min-product FRIs. An algorithm is proposed to obtain the optimal solution based on the quasi-maximal matrix and corresponding index set. To illustrate the efficiency of our proposed algorithm, we provide a simple numerical example. The obtained optimal solution reflects an optimal pricing scheme, which maximizes the minimum prices of the commodity from the suppliers. (shrink)

This essay explores the controversy over peer-to-peer (p2p) software, examining the legal and ethical dimensions of allowing software companies to develop p2p technologies. It argues that, under the Supreme Court’s ruling in the Sony betamax case, technology developers must be accorded the freedom to innovate and develop technologies that are capable of substantial noninfringing uses. This doctrine, known as the Sony doctrine, provides an important safe harbor for technological development, including p2p. The safe harbor, however, does not immunize conduct beyond (...) the design, sale, or supply of the product. For other conduct that falls outside the Sony safe harbor, the traditional standards of secondary liability apply. (shrink)

In ‘Listening to Music Together’, Nick Zangwill offers three arguments which aim to establish that listening to music can never be a joint activity. If any of these arguments were sound, then our experiences of music, qua object of aesthetic attention, would be essentially private. In this paper, I argue that Zangwill’s arguments are unsound and I develop an account of shared musical experience that defends three main conclusions. First, joint listening is not merely possible but a (...) common feature of our socially situated experiences of music. Second, when listening with others our experience of the music and our sense of community with our fellow listeners often reciprocally enhance one another. Third, how deeply and intimately we share a musical experience with others depends upon such factors as our respective backgrounds, interests, and levels of expertise. (shrink)

Ongoing electroencephalography signals are recorded as a mixture of stimulus-elicited EEG, spontaneous EEG and noises, which poses a huge challenge to current data analyzing techniques, especially when different groups of participants are expected to have common or highly correlated brain activities and some individual dynamics. In this study, we proposed a data-driven shared and unshared feature extraction framework based on nonnegative and coupled tensor factorization, which aims to conduct group-level analysis for the EEG signals from major depression disorder patients and (...) healthy controls when freely listening to music. Constrained tensor factorization not only preserves the multilinear structure of the data, but also considers the common and individual components between the data. The proposed framework, combined with music information retrieval, correlation analysis, and hierarchical clustering, facilitated the simultaneous extraction of shared and unshared spatio-temporal-spectral feature patterns between/in MDD and HC groups. Finally, we obtained two shared feature patterns between MDD and HC groups, and obtained totally three individual feature patterns from HC and MDD groups. The results showed that the MDD and HC groups triggered similar brain dynamics when listening to music, but at the same time, MDD patients also brought some changes in brain oscillatory network characteristics along with music perception. These changes may provide some basis for the clinical diagnosis and the treatment of MDD patients. (shrink)

Human interactions are often improvised rather than scripted, which suggests that efficient coordination can emerge even when collective plans are largely underspecified. One possibility is that such forms of coordination primarily rely on mutual influences between interactive partners, and on perception–action couplings such as entrainment or mimicry. Yet some forms of improvised joint actions appear difficult to explain solely by appealing to these emergent mechanisms. Here, we focus on collective free improvisation, a form of highly unplanned creative practice where both (...) agents' subjective reports and the complexity of their interactions suggest that shared intentions may sometimes emerge to support coordination during the course of the improvisation, even in the absence of verbal communication. In four experiments, we show that shared intentions spontaneously emerge during collective musical improvisations, and that they foster coordination on multiple levels, over and beyond the mere influence of shared information. We also show that musicians deploy communicative strategies to manifest and propagate their intentions within the group, and that this predicts better coordination. Overall, our results suggest that improvised and scripted joint actions are more continuous with one another than it first seems, and that they differ merely in the extent to which they rely on emergent or planned coordination mechanisms. (shrink)

Technology shapes every aspect of human experience and it is the primary driver of social and ecological change. Given this, it is surprising that we spend so little time studying, analyzing, and evaluating new technologies. Occasionally, an issue grabs public attention--for example, the use of human embryonic stem cells in medical research or online file sharing of music and movies. However, these are the exceptions. For the most part, we enthusiastically embrace each new technology and application with (...) little critical reflection on how it will impact our lives and our world. What is more, when an issue raised by an emerging technology is attended to, we often lack the language, concepts, and critical perspectives to thoroughly address it. The aim of this textbook is to introduce students and other readers to the ethical issues associated with a broad array of emerging technologies--including nanotechnology, synthetic genomics, robotics, genetic engineering, geoengineering, synthetic meat, virtual reality, information technologies, sex selection, and many more--and to help them develop analytical skills and perspectives for effectively evaluating novel technologies and applications. (shrink)

Shared Musical Lives makes the case for the epistemological and ethical significance of musical experience. Music can be a source of self-knowledge and self-expression, and hence reveal important dimensions of the self to others. This knowledge - of both self and of others - has a moral force as well. Shared musical experience can transform and establish new modes of being with others, cultivate virtues, and expand the moral imagination. The term sonification (which means translating data into non-verbal audible (...) tones) provides an organizing principle for the arguments in the book.Transposing the concept into a philosophical key, this book explores two forms of sonification: first, the process by which musical experience reveals dimensions of the self and relationships with others; and second, philosophical sonification, or the critical examination of philosophical concepts,arguments, and theories in view of what musical experience reveals. These two kinds of sonification are discussed specifically in the context of disability. In this book, author Licia Carlson brings the musical lives of people with cognitive and intellectual disabilities into the foreground in order to challenge and broaden existing conceptions of disability and music and provide new ways of thinking about the philosophies of music and disability. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Species Counterpoint:Darwin and the Evolution of FormsRandall Everett AllsupMy intention is to tell of bodies changed to different forms; the gods, who made the changes, will help me—or so I hope—with a poem that runs from the World's beginning to our own days.1I.A recent article in a progressive monthly magazine asked by way of a thesis, "Whose music is the blues?" Under the title, the tag line read, (...) "2003 is the 'Year of the Blues.' But as a music born of oppression becomes a feel-good soundtrack for white America, just what are we celebrating?"2 I recall feeling puzzled by this rather old-fashioned topic of investigation. Anyone with access to the Internet knows that music is not for one group or another. Global file sharing has made ownership as easy as, well, sharing a file. Furthermore, the tendency to depart from ancestral forms, whether as rebellious teenagers, rock guitarists, or both, seems genetically built into us. Life is a metamorphosis and music—like life—evolves.To advance the notion that music is made for one people and not another, that it has absolute or essential qualities, opens a terribly large can of worms. We know, for example, that identity and music are linked, but the relationship is not [End Page 159] mono-directional, causal, or fixed. My relationship to the blues or Broadway show tunes for that matter is defined somewhere within a dense web of group associations, educational opportunities, even closet desires. With regard to psychological research on identity, slippery and impermanent as identity is, this research is really about similarities.3 Conservative in this light, such studies look for commonalities: their goal is to identify "what is."4Fear is often the dominant response to the evolution of a cherished form. Change, however, holds equal parts fear and promise. The Chinese word for crisis, wei-ji, means "opportunity with danger." This essay will contextualize the latter, but focus on the former. It is worth asking, for example, what might result from an examination of anomalies? Rather than attempt to identify "what is," such an inquiry would be concerned with "what else" [the abnormality] as well as "what might be" [the opportunity]. Located, I think, within the anomalies and mutations that seem to fit so well our globally connected world are new codes, altered methods for self-understanding, and interaction in the arts.Charles Darwin and The Origins of Species will provide the conceptual framework for this discussion.5 To look for help in the work of Darwin will require a crossbreeding of scientific theory and metaphor, a cross-pollination of hypothesis and the hypothetical. We will look at how the production of new forms, particularly musical forms, is shaped. Speaking metaphorically, a work of art or entertainment can be seen as an adaptation to and of its environment. We know that cultural products, like all living species, are not permanent entities. Change, Darwin stressed, carries with it purpose. To that end, he looked for variation to help him understand how and why an organism or system developed the way it did. What might be revealed if we apply this procedure to the field of music and music education? We might see eco-systems in various stages of growth, health, and decline. A look at musical forms as mutable, living creations that spring from and reflect a particular condition raises interesting questions about place and purpose.II.Only a hundred and fifty years ago, a single event—a theory!—precipitated a cultural crisis that threw down two thousand years of scientific and philosophic thought. The popular revolt that Charles Darwin's The Origin of Species fueled (and continues to fuel) called into question fundamental beliefs about how the world is made. Darwin's theory that matter and energy are in steady flux, that life is in need of constant variation, implied that fixed or universal truths are nothing more than comforts created by the mind. The Origin of Species was therefore more than a scientific revolution.6 A core tenet of Western culture was challenged by its publication: the so-called immaterial spirit, whether viewed in the [End... (shrink)

The article deals with the self-education of future specialists in the field of culture and art within the context of philosophical, psychological, and pedagogical studies of the postmodern era. This substantiates the need to use e-learning in professional training. The use of cloud computing technologies is one of the educational process’ innovations. As shown by our research and personal experience implementing cloud computing technologies into the educational process proves to be feasible for training future professionals in the field of culture (...) and art, including their self-education. The article shows that the aim of self-education of the future professionals in the field of culture and art is personal and professional perfection, and also achievement, at the maximum possible level, of the creative ideal. Today their professional training is focused on self-perfection, ability to self-educate, skill to foresee the consequences of their professional activity and search for the new ways to solve their professional tasks using ICT. The article justifies that cloud computing technologies allow spreading content in the Internet, they facilitate posting the text messages, photographs, pictures and musical files. Accessibility, openness, interactivity of the cloud computing technologies cause their wide use for both on-line and off-line communication, data sharing of text, multimedia and audio resources for all participants of the educational process that enriches the self-education of future professionals in the field of culture and art and makes it rich in content, practically-oriented and enhances professional competence. The article concludes that e-learning best meets methodological requirements of the postmodern society. (shrink)

This is an important piece of work from an influential and highly-acclaimed theorist exploring the New Musicology and other debates in recent philosophy of ...

Assuming live music can foster belonging in the workplace, this study linked companies in the secondary and tertiary sectors with the world of music performance. Specifically, students from a Swiss music university offered live mini-concerts on the premises of three companies over a period of 3 months. To analyze the impact of these brief musical interventions on the sense of belonging of staff in these companies, a mixed methods approach was adopted using a standardized questionnaire. The short (...) concerts were much appreciated. On the individual level, they led to a greater sense of pleasure and were perceived as a break, a possibility to connect to one’s emotions and above all, as a “moment for oneself.” On the group level, the short concerts allowed the members of teams to meet, prompted conversations and new ways of sharing, created links, and offered opportunities to get to know work colleagues differently and to discover them on a more personal level. (shrink)

In this paper I will address some theories of Roman Ingarden and Walter Benjamin in the light of the new reproductive technologies for streaming music. As to Ingarden's theory I argue that, in the case I am bringing into investigation, streaming music experience can bring new light on the problem of the identity of the musical work by creating a continuum in a sequence of performances, and such continuum may account for a sort of ‘fluid’ cross-identity of the (...) music piece variously performed. I also argue that the lack of ‘aura’, in this case, does not devalue the music piece and nevertheless allows for a notable aesthetic fruition. (shrink)

Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, (...) showing that music cognition research provides insight into the understanding of not only music processing but also language processing and the processing of other structured stimuli. The hypothesis of shared resources between music and language processing and of domain-general dynamic attention has motivated the development of research to test music as a means to stimulate sensory, cognitive, and motor processes. (shrink)

What is it for two people to think of an object, natural kind or other entity under the same mode of presentation (MOP)? This has seemed a particularly difficult question for advocates of the Mental Files approach, the Language of Thought, or other ‘atomistic’ theories. In this paper I propose a simple answer. I first argue that, by parallel with the synchronic intrapersonal case, the sharing of a MOP should involve a certain kind of epistemic transparency between the token (...) thoughts of the two thinkers. I then explain how shared words help bring about this transparency. Finally, I show how this account can be extended for thoughts expressed using demonstratives or indexicals. (shrink)

Does it make sense to refer to bird song - a complex vocalization, full of repetitive and transformative patterns that are carefully calculated to woo a mate - as art? What about a pack of wolves howling in unison or the cacophony made by an entire rain forest? Redefining music as "the art of possibly animate things," Musical Vitalities charts a new path for music studies that blends musicological methods with perspectives drawn from the life sciences. In opposition (...) to humanist approaches that insist on a separation between culture and nature--approaches that appear increasingly untenable in an era defined by human-generated climate change--Musical Vitalities treats music as one example of the cultural practices and biotic arts of the animal kingdom rather than as a phenomenon categorically distinct from nonhuman forms of sonic expression. The book challenges the human exceptionalism that has allowed musicologists to overlook music's structural resemblances to the songs of nonhuman species, the intricacies of music's physiological impact on listeners, and the many analogues between music's formal processes and those of the dynamic natural world. Through close readings of Austro-German music and aesthetic writings that suggest wide-ranging analogies between music and nature, Musical Vitalities seeks to both rekindle the critical potential of nineteenth-century music and rejoin the humans at the center of the humanities with the nonhumans whose evolutionary endowments and planetary fates they share. (shrink)

Online music sharing, deemed illegal for invading intellectual property rights under current laws, has become a crucial issue for the music industry in the modern digital age, but few have investigated the potential costs and utilities for individuals involved in such online misbehavior. This study aimed to fill in this gap to predict consumers' intentions to engage in online music sharing and further consider consumers' online music sharing knowledge as a moderator in the (...) research model. The results of repeated measures analysis of variance of costs and utilities of online music sharing not only give more detailed information to grasp empirical implications but also provide some suggestions to the music industry in Taiwan. (shrink)

Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could (...) cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)

The two event-related potentials studies investigated how verbs and nouns were processed in different music priming conditions in order to reveal whether the motion concept via embodiment can be stimulated and evoked across categories. Study 1 tested the processing of verbs primed by two music types, with tempo changes and without tempo changes while Study 2 tested the processing of nouns in the same priming condition as adopted in Study 1. During the experiments, participants were required to hear (...) a piece of music prior to judging whether an ensuing word is semantically congruent with the motion concept conveyed by the music. The results show that in the priming condition of music with tempo changes, state verbs and inanimate nouns elicited larger N400 amplitudes than action verbs and animate nouns, respectively in the anterior regions and anterior to central regions, whereas in the priming condition of music without tempo changes, action verbs elicited larger N400 amplitudes than state verbs and the two categories of nouns revealed no N400 difference, unexpectedly. The interactions between music and words were significant only in Tasks 1, 2, and 3. Taken together, the results demonstrate that firstly, music with tempo changes and music without tempo prime verbs and nouns in different fashions; secondly, action verbs and animate nouns are easier to process than state verbs and inanimate nouns when primed by music with tempo changes due to the shared motion concept across categories; thirdly, bodily experience differentiates between music and words in coding fashion but the motion concept conveyed by the two categories can be subtly extracted on the metaphorical basis, as indicated in the N400 component. Our studies reveal that music tempos can prime different word classes, favoring the notion that embodied motion concept exists across domains and adding evidence to the hypothesis that music and language share the neural mechanism of meaning processing. (shrink)

Belief fragments and mental files are based on the same idea: that information in people’s minds is compartmentalized rather than lumped all together. Philosophers mostly use the two notions differently, though the exact relationship between fragments and files has yet to be examined in detail. This chapter has three main goals. The first is to argue that fragments and files, properly understood, play distinct yet complementary explanatory roles; the second is to defend a model of belief that includes them both; (...) and the third is to raise and address a shared dilemma that confronts them: that they threaten to be either explanatorily lightweight or empirically refuted. This chapter contends that it is better to embrace the horn of this dilemma that opens up files and fragments to empirical refutation or confirmation, by adopting a psychofunctionalist approach. (shrink)

Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist (...) account. This approach proposes that the phenomenon of perception of emotions in music arises from the interaction of music’s ability to express core affects and the influence of top-down and contextual information in the listener’s mind. We start by reviewing the problems with the concept of Basic Emotions, and the inconsistent evidence that supports it. We also demonstrate how decades of developmental and cross-cultural research on music and emotional speech have failed to produce convincing findings to conclude that music expressivity is built upon a set of biologically pre-determined basic emotions. We then examine the cue-emotion consistencies between music and speech, and show how they support a parsimonious explanation, where musical expressivity is grounded on two dimensions of core affect (arousal and valence). Next, we explain how the fact that listeners reliably identify basic emotions in music does not arise from the existence of categorical boundaries in the stimuli, but from processes that facilitate categorical perception, such as using stereotyped stimuli and close-ended response formats, psychological processes of construction of mental prototypes, and contextual information. Finally, we outline our proposal of a constructionist account of perception of emotions in music, and spell out the ways in which this approach is able to make solve past conflicting findings. We conclude by providing explicit pointers about the methodological choices that will be vital to move beyond the popular Basic Emotion paradigm and start untangling the emergence of emotional experiences with music in the actual contexts in which they occur. -/- . (shrink)

The current conflict between the recording industry and a portion of its customers who are involved in illicit copying of music files arose from innovations involving the compression and electronic distribution of files over the internet. This paper briefly describes some of the challenges faced by the recording industry, and examines some of the ethical issues that arise in various industry and consumer responses to the opportunities and threats presented by these innovations. The paper concludes by highlighting the risks (...) associated with responses that threaten further innovation, ultimately reducing the chances of finding solutions that hold appeal for all parties. (shrink)

A musical phrase, or, for that matter, a musical unit of any size or shape, becomes an image whenever we imagine it to be invested with a content whose origins lie outside music. Such a content, according to the theory developed here, constitutes the image's conventional significance; it accounts for whatever strikes us about the image as having a common and familiar ring. That being so, the origins in question must be coincident with the fundamental ideas--the archetypes--that have been (...) traditionally represented as underlying and unifying Western culture. As the theoretical constructs they are, arehctypes are never encountered directly. It is in the form of their local variants that we make contact with the archetypes, and it is at this local level that the present book sets its sights: style, the typical or shared element in the musical imagery of a time and place, is studies as a function of Zeitgeist, the complex of beliefs, values, and ideals of a community. The approach is both thematic and historical, in keeping with a key objective of archetypal criticism. Far from repudiating the popular notion that music expresses the human emotions, this study attempts to recast emotion theory by examining musical images for kinds of behavior from which we may infer not only emotion (pathos, effectus) but also personality (ethos). Ethical and affective distinctions are very sharply drawn, in an effort to clarify and widen the vocabulary of musical commentary, as well as to provide cultural and historical backing for contents long considered the cliches of musical expression. (shrink)

Dance, Music and Dramaturgy: collaboration plan and dramaturgical apparatus – The unfolding of the concept of dramaturgy and the problematics of contemporary choreography are, today, a vast and diverse field of research, bearing numerous disclosures that lead to their reciprocal implication. Apart from that, dance and music share significant complementary ties allowing for the consideration of a common compositional inquiry. Reflecting on the compositional processes of dance and music, this article cross-examines the collaboration between choreographers and composers, (...) integrating the incidence of dramaturgy in the strategies of choreographic and musical composition. (shrink)

This paper is an exploration of how we do things with music—that is, the way that we use music as an esthetic technology to enact micro-practices of emotion regulation, communicative expression, identity construction, and interpersonal coordination that drive core aspects of our emotional and social existence. The main thesis is: from birth, music is directly perceived as an affordance-laden structure. Music, I argue, affords a sonic world, an exploratory space or nested acoustic environment that further affords (...) possibilities for, among other things, (1) emotion regulation and (2) social coordination. When we do things with music, we are engaged in the work of creating and cultivating the self, as well as creating and cultivating a shared world that we inhabit with others. I develop this thesis by first introducing the notion of a musical affordance . Next, I look at how emotional affordances in music are exploited to construct and regulate emotions. I summon empirical research on neonate music therapy to argue that this is something we emerge from the womb knowing how to do. I then look at social affordances in music, arguing that joint attention to social affordances in music alters how music is both perceived and appropriated by joint attenders within social listening contexts. In support, I describe the experience of listening to and engaging with music in a live concert setting. Thinking of music as an affordance-laden structure thus reaffirms the crucial role that music plays in constructing and regulating emotional and social experiences in everyday life. (shrink)