This paper presents a new line of inquiry into when and how music as a semiotic system was born. Ten principal expressive aspects of music retain specific structural patterns to signify a certain affective state, which distinguishes the tonal organization of music from the phonetic and prosodic organization of natural languages. Therefore, the question of music’s origin can be answered by establishing the point in human history, at which expressive aspects might have been abstracted from the instinct-driven primate calls and (...) used to express human psycho-emotional states. Etic analysis of acoustic parameters is the prime means of cross-comparison of the typical patterns of expression of the same basic emotions in human music versus animal vocal communication. A new method of such analysis is proposed here. Formation of such expressive aspects as meter, tempo, melodic intervals, and articulation can be explained by the influence of bipedal locomotion, breathing cycle, and heartbeat, long before Homo sapiens. However, two aspects, rhythm and melodic contour, most crucial for music as we know it, lack proxies in the Paleolithic lifestyle. The available ethnographic and developmental data leads one to believe that rhythmic and directional patterns of melody became involved in conveying emotion-related information as a result of frequent switching from one call-type to another within the limited repertory of calls adopted for ongoing caretaking of human youngsters and domestic animals. The efficacy of rhythm and pitch contour in affective communication must have been discovered spontaneously in new important cultural activities. The most likely scenario for music to have become fully semiotically functional is the formation of cross-specific communication between humans and domesticated animals during the Neolithic demographic explosion. The model of such communication can be found in the surviving tradition of Scandinavian pastoral music. This article discusses the most likely ways in which such music evolved. (shrink)

The paper deals with the question of the attribution to Epicurus of the classification of pleasures into 'kinetic' and 'static'. This classification, usually regarded as authentic, confronts us with a number of problems and contradictions. Besides, it is only mentioned in a few sources that are not the most reliable. Following Gosling and Taylor, I believe that the authenticity of the classification may be called in question. The analysis of the ancient evidence concerning Epicurus' concept of pleasure is made according (...) to the following principle: first, I consider the sources that do not mention the distinction between 'kinetic' and 'static' pleasures, and only then do I compare them with the other group of texts which comprises reports by Cicero, Diogenes Laertius and Athenaeus. From the former group of texts there emerges a concept of pleasure as a single and not twofold notion, while such terms as 'motion' and 'state' describe not two different phenomena but only two characteristics of the same phenomenon. On the other hand, the reports comprising the latter group appear to derive from one and the same doxographical tradition, and to be connected with the classification of ethical docrines put forward by the Middle Academy and known as the divisio Carneadea. In conclusion, I argue that the idea of Epicurus' classification of pleasures is based on a misinterpretation of Epicurus' concept in Academic doxography, which tended to contrapose it to doctrines of other schools, above all to the Cyrenaics' views. (shrink)

This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to “frequency-based” music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timbre-based music attract the attention of Western researchers, these are usually interpreted as “defective” implementations of frequency-based music. The (...) presence of discrete pitch is often regarded as the structural criterion that distinguishes music from non-music. We would like to present evidence to the contrary—in support of the existence of indigenous music systems based on the discretization and patterning of aspects of timbre, rather than pitch. This evidence comes mainly from extensive ethnographic research systematically conducted in eastern European and Asian parts of Russia from the 1890s. It involved the efforts of thousands of specialists and was coordinated by dozens of research institutions, and it has included not just ethnomusicology but linguistics, philology, organology, archaeology, anthropology, geography, and religious and social studies. Much of the data has not been translated into Western languages. Timbre-based tonal organization (TO) differs from that based on frequency in its personal orientation: musicking here occurs primarily for oneself and/or for close relatives/friends. Collective music-making is rare and exceptional. The foundation of timbre-based music seems to have vocal roots and rests on “personal song”—a system of personal identification through individualized patterns of rhythm, timbre, and pitch contour, utilized like a “human voice”—whose sound enables the recognition of a particular individual. The instrumental counterpart of the personalized singing tradition is the jaw harp tradition. The jaw harp is the principal musical instrument for at least 21 ethnicities in Russia, who occupy over half the territory of the country. The evolution of its TO forms the backbone for the development of timbre-based music art. Here, we provide the acoustic, socio-cultural, geographic, and chronological overview of timbre-based music. (shrink)

One of the main themes that Maxim Gorky developed throughout his life was that of the honest Russian man and the Russian intelligentsia’s endless role of enlightening him and protecting him...

Philosophical analysis of the Soviet Union as a phenomenon is relevant in light of the approaching centennial of its formation. The significance of this event derives from the Soviet Union’s enormous scale and historically, qualitatively unique formation that included many dozens of nations and nationalities. This formation replaced the equally enormous Russian Empire but arose not due to natural development but on its ruins, by the means of a European Marxism adapted to domestic conditions. Nowhere in the world have societies (...) and states like the Soviet Union arisen spontaneously, while the Eastern European “people’s democracy” countries created after the Second World War repeatedly attempted to free themselves from the kinship and dominance of the Soviet Union and would disappear immediate with its collapse.In this article, the question of what the Soviet Union was in its project and reality is discussed in the following contexts: Marxist solutions to Russia’s agrarian question and their subsequent internationalization to create a “world union of workers and peasants” (V.I. Lenin); analysis of the principle of forced labor as the primary means of creating the “socialist working man”; the formation of the Soviet Union as a “quasi-federal” community of peoples “national in form, socialist in content”; and the forced inclusion of Eastern European peoples in the emerging “world Soviet Union” as “payment” for their liberation from fascism. This article justifies the claim that without analysis of the essential role of these ideas and phenomena, one could hardly expect to gain a holistic understanding of the nature of the Soviet Union. (shrink)

Fyodor M. Dostoevsky’s analysis of the theme of Russia–Europe relations, as well as the nature of Russian society, is replete with concept-metaphors like “people,” “national principle,” “soul,” “sp...

Russia’s October 1917 revolution had an international vector along with its domestic one. The idea of transforming not only a single country but the entire world into a dictatorship of the proletar...

Together with language, music is perhaps the most distinctive behavioral trait of the human species. Different hypotheses have been proposed to explain why only humans perform music and how this ability might have evolved in our species. In this paper, we advance a new model of music evolution that builds on the self-domestication view of human evolution, according to which the human phenotype is, at least in part, the outcome of a process similar to domestication in other mammals, triggered by (...) the reduction in reactive aggression responses to environmental changes. We specifically argue that self-domestication can account for some of the cognitive changes, and particularly for the behaviors conducive to the complexification of music through a cultural mechanism. We hypothesize four stages in the evolution of music under self-domestication forces: (1) collective protomusic; (2) private, timbre-oriented music; (3) small-group, pitch-oriented music; and (4) collective, tonally organized music. This line of development encompasses the worldwide diversity of music types and genres and parallels what has been hypothesized for languages. Overall, music diversity might have emerged in a gradual fashion under the effects of the enhanced cultural niche construction as shaped by the progressive decrease in reactive (i.e., impulsive, triggered by fear or anger) aggression and the increase in proactive (i.e., premeditated, goal-directed) aggression. (shrink)

In the history of Russia’s development, there are clear, unchanging constants of empire, autocracy, and property as power. These are persistent structures that have existed over a long historical period, which are created by the state and society, and are upheld by tradition. On the one hand, they are restrictive, but on the other hand, they guide the direction of socioeconomic, sociopolitical, and cultural development, and also facilitate the emergence of the corresponding social actors and institutions. During the Russian revolutionary (...) process, which spanned 1905–1922 and reached its apex in the October Revolution, an attempt was made to change these constants. However, this attempt failed, and Russia returned to its traditional path of development. (shrink)