This book brings together researchers from a range of disciplines that use diverse methodologies to provide new perspectives and formulate answers to questions about the meaning, means, and contextualisation of expressive performance in music.

Although the piano is an instrument with more than three hundred years of history, it has not been in China for a long time. Therefore, in the process of learning to play the piano in China, many Western piano works are often played, but rarely come into contact with Chinese-style piano works. With the development of time, thanks to the relentless search for outstanding Chinese composers, more and more piano works based on ethnic culture and Chinese style appear. (...) Some of these works are based on the music of national minorities, some are adaptations of Chinese folk songs, and some are borrowed from folk music. "Spring Dance" is a typical work reflecting the culture of the Uighurs living in Xinjiang. The work is melodic, rhythmic, expresses the beautiful nature of Xinjiang, the warm and energetic character of the Uighur people.This article analyzes the "Chinese style" of the "Spring Dance" in the hope that it will serve as a basis for studying piano works with Chinese national flavor. The "Chinese style" in rhythms is not only an imitation of the rhythms of traditional folk instruments, but also an imitation of the peculiarities of the language of Chinese national minorities. Thanks to the study of the "Chinese style" in this work, the author understood more deeply the unique charm of Chinese piano works which will also serve as a guide for the subsequent study of such piano works. (shrink)

Friendly Remainders draws on Adorno's concept of the negative dialectic, examining its importance in Adorno's thought and its critical application to musical forms. Moving beyond a positivist view where musical object and appreciation operate as a synthesis, the negative dialectic method focuses on divergence and dissonance in musical forms and in society. Contradictions and divergent details and concepts become "remainders," friendly because of the fresh perspective they offer on musical forms. Dineen examines these contradictory remainders in subjects such as the (...) fascist element in Wagner's character, the torpor of Schoenberg's twelve-tone method, the self-contradiction implicit in Beethoven's Late Style, Frank Zappa's attempt to define himself as a "serious" composer, the reactionary stasis in Marilyn Manson's DVD "Guns, God and Government World Tour," and the death motive in John Coltrane. Friendly Remainders takes seriously the project of making Adorno accessible, asking the same questions of classical and popular music - taking the measure of Mahler as much as Manson - for the value of the critical insights they provoke. (shrink)

“Postmodern” is an elusive concept that embraces a wide range of critical theories and attitudes. To borrow the assessment that the American poet Walt Whitman offered of himself, the concept is large and contains multitudes, various aspects of which often seem to be at odds with one another. Postmodern art likewise contains multitudes; indeed, it would seem that one of postmodern art's chief characteristics is the comfortable integration of apparently contradictory stimuli that, importantly, are sited less in the “work” itself (...) than in the eye/ear/mind of the beholder. Grounded on the idea that postmodern music is defined not by composers but by listeners, this essay challenges musicological writing that since the early 1990s has sought both to illuminate an ideology of postmodernism and to identify elements of a postmodernist style. In particular, it counters the much-repeated statement that the first, and perhaps quintessential, example of musical postmodernism is the eclectic yet thoroughly linear and discursive 1972 Third String Quartet of the late American composer George Rochberg; the essay suggests that, if a prototype of the postmodern in music must be named, a better candidate would be Rochberg's palimpsest-like 1965 Music for the Magic Theater. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Culturally Responsive Teaching in Music Education: From Understanding to Application by Vicky R. Lind and Constance L. McKoyEric ShiehVicky R. Lind and Constance L. McKoy, Culturally Responsive Teaching in Music Education: From Understanding to Application (New York, NY: Routledge, 2016).In the book’s penultimate chapter, titled “Community,” we encounter a teacher who agrees to a student’s request to start a mariachi band and gets “more than he (...) bargained for.”1 We hear from a teacher who seeks a greater understanding of the context for her Black students and finds herself the only White person in many of the community events she attends. We learn about a teacher who has her marching band, predominantly comprised of Latinx students, march in annual Korean and Black community parades in the city and why she does this. What to make of these stories—inspiring, provocative, suffused with honesty? I found myself restless to share these narratives with my own teaching colleagues, to ask not simply “What do you see happening here?” but also “Where would something like this take us?”What is notable about Vicky Lind and Constance McKoy’s achievement here is that they have given us a very full book and one that provides many different points of entry—stories and theories and activities and questions—through which to engage with ideas of culturally responsive teaching. In just under 150 [End Page 210] pages with index and references, the book encompasses four chapters that review various academic traditions connected to culturally responsive teaching, concludes with three chapters that relay narratives and vignettes from K-12 music teachers, and includes throughout lists of reflection questions and teaching strategies. The primary audience is pre-service and in-service K-12 music teachers. If a key requirement for culturally responsive teaching is continuous reflection over the impacts our pedagogies have on our students and ourselves as teachers, this book’s wide-ranging engagement is indeed a welcome one.What I offer here in terms of review, then, is first a consideration of the book’s various components and where they might lead us. Second, I bring its ideas of cultural responsiveness into dialogue with ideas more commonly found in anti-racist and social justice approaches to education—traditions the book does not directly engage with but which certainly have a place in conversations around it. This is a particularly relevant time, I suggest, to engage with questions of cultural responsiveness alongside perhaps more politically-minded approaches: this book will be read, I hope, by teachers grappling with our age of renewed and visible racial struggle, increased forced migration, and cultural insecurity.The first half of the book is explicitly dedicated to “understanding” culturally responsive teaching. Its chapters present a historical overview of its conceptual development, explicate the centrality of culture and cultural competence to teaching, and discuss the connection between music and identity in young people. The authors center their conceptualization of culturally responsive teaching around Geneva Gay’s framework, outlined in her Culturally Responsive Teaching, as “using the cultural knowledge, prior experiences, frames of reference, and performance styles of ethnically diverse students to make learning encounters more relevant to and effective for them.”2 “Effective,” here, is understood broadly and includes academic competence, self-efficacy, social critique, and the freedom to be “ethnically expressive.”3In laying this foundation, the authors negotiate thoughtfully a number of tensions inherent in this work that are too often simplified in the classroom. They recognize, for example, the need to acknowledge culture as a category through which human experience is mediated, but also one that too easily gives way to stereotyping. When discussing issues of music and identity they remind readers that musical identities are multiple and suggest that musical identities might be viewed as both “bottom-up” and “top-down”—constructed through a variety of ongoing experiences as much as they are constituted by national or ethnic affiliation.4 They also do not shy from language such as “high expectations” and “academic competence” when discussing the need for comprehensive and supportive classrooms, despite the uneasiness with which these terms often sit in arts education and alongside purposes of engendering social critique... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Editorial Reflections on Philosophizing in Music EducationEstelle R. Jorgensen and Iris M. YobIn this article, we reflect on issues that go to the heart of teaching and scholarship in the philosophy of music education. After thirty years of editing Philosophy of Music Education Review, it is a good time to take stock of the philosophical work that has been and is being published and of challenges (...) that remain.Over the years, there has been a growing quality of philosophical articles published in the journal, due in significant part to the efforts of reviewers and the willingness of writers to work with their suggestions. Authors regularly express appreciation for the informed, critical, and constructive reviews their work receives. An exemplary body of philosophical scholarship in music education has been published over this time and PMER is regarded as a premier journal internationally devoted exclusively to the philosophy of music education. In thirty volumes of uninterrupted publication, we have sought to be responsive to important issues in music education. Our writers have engaged relevant subjects of interest to our readers, citations of articles remain strong, and articles are included in [End Page 109] university and college course reading lists. PMER is available in print and online via subscription; it has a wide digital exposure in search engines and leading indexes, and our readership continues to grow.Despite this progress, although the number of submissions has increased, their quality has sometimes been uneven. Our pedagogical commitment to foster philosophical writing and the philosophical inexperience of some writers has significantly impacted the work required to bring submissions to publication standard. Submissions sometimes evidence a lack of attention to formulating a tight argument, citing relevant sources, and polishing and editing the manuscript. The published style guidelines are too often ignored, creating a poor first impression with reviewers and editors. Writers are occasionally in a hurry to publish and less willing to entertain multiple revisions of their articles required to produce work of lasting value. The growing number of music education journals that publish philosophical work, while opening more fora, in some cases perversely result in ideologically driven, polemical, and philosophically uninformed articles in the name of philosophy. This is a good moment to reconsider the importance of philosophical fundamentals that should undergird our philosophizing in music education and what these mean for our academic responsibilities. To this end, we suggest several principles that need to be central to our philosophizing in music education. These principles also have broader implications for the expectations of scholarship in music education generally.WRITING PHILOSOPHYLike other subject areas in the academy, philosophy has its own intellectual structure, a canon of significant writings, its own interpretative methods, and its distinctive role and purpose. A philosophical paper in music education reads differently from papers in the history of music education, methods of teaching music, sociology of music education, empirical research in music education, multi-cultural, gender, and ethnic studies, music education curriculum building and policy making, and so on. And yet, the boundaries between these disciplines, which are artificial constructions when human knowledge is considered wholistically anyway, are somewhat porous with concepts and ideas and claims seeming to move easily from one discipline to another.To help distinguish between philosophy and other areas of study and research, it may be helpful to consider philosophy as a second-order activity. That is, first-order activity examines the raw data of research and experience and attempts to make sense of them. Using inference, pattern-seeking, deduction, hypotheses, statistical analysis, and so on, these activities result in claims, interpretations, and theories that give meaning to what we see, hear, and feel. [End Page 110]The second-order activity takes a step away from these first-order activities. It does not concern itself so much with raw data or with creating theories about them, but critically analyzes the claims and inferences that are made in regard to them. Where first-order disciplines analyze inputs from observation and experimentation, second-order disciplines analyze these analyses—that is, they function as meta-analyses. Philosophers do not need laboratories or fieldwork (which makes applications for grants to support philosophical research difficult to secure!). They need libraries... (shrink)

Professional musicians are expected to perform at a very high level of proficiency. Many times, this high standard is associated with perfectionism, which has been shown to prompt both adaptive and maladaptive motivational dynamics and outcomes among music students. The question about how perfectionism interplays with motivational dynamics in music students is still unanswered and research within this line is scarce, especially in Latin America. In the light of Self-Determination Theory, this cross-sectional study investigated the relationship between the (...) perceptions of motivational context, basic psychological needs, perfectionism, and flourishing in University music students from Lima, Peru. We performed a path analysis testing a model in which motivational teaching styles predicted both, perfectionism and flourishing via need satisfaction and frustration. The model's fit indices were ideal [χ2 = 7.48, p = 0.300, CFI = 0.998, TLI = 0.992, RMSEA = 0.021, SRMR =0.040]. In this model, perceived autonomy supportive style predicted need satisfaction positively and need frustration negatively; perceived controlling teaching style did not predict need satisfaction nor frustration. In turn, need satisfaction positively predicted adaptive perfectionism and flourishing; whereas, need frustration predicted maladaptive perfectionism. These results shed light on the relevance of perfectionism in the psychology of higher music education students. Lastly, we highlight the importance of autonomy support in fostering adaptive high standards and flourishing in music learning. (shrink)

The article focuses on identifying differences in the locus of control and styles of coping with stress among young students who are artistically gifted within the fields of music and visual arts. The research group includes Polish students of both music and visual art schools who develop their artistic talents in schools placing particular emphasis on professional training of their artistic abilities and competences within the field of music or visual arts respectively. We make an assumption that (...) different types of difficult situations experienced by youth educated at music and visual art schools may generate differences in dominating personal traits as well as in their sphere of emotions. The results of crosssectional research in 2013 confirm the assumption regarding differences among music and visual art school students both with regard to the source of the locus of control, understood as the personality variable, and dominating styles of coping with stress. Moreover, a positive correlation between the tendency towards internal locus of control and a task-oriented style of coping with stress in difficult situations has been observed in music school students. (shrink)

Resumen: Debido a varias razones históricas y realistas, el desarrollo de la teoríeorlsica de la mlsica en China se queda atrátrra cuanto al sistema de enseñanza, el contenido de la enseñanza y otros aspectos. Es una tarea importante para los trabajadores chinos de la misica revisar o complementar la teoríeorteorntar sica actual y los libros de texto relacionados, y luego construir un sistema de disciplina de la teoríeorla teordesica en China. Este artículo sintetiza las teoríeorreorr educacióducacirr las tehistoria de la (...) m sica, la cultura musical, la morfologíorfolog, la otras disciplinas relacionadas, utiliza valores científicos, objetivos y racionales y conceptos holísticos y comprensivos, toma el desarrollo de la educacióducaciedteoríeoracieducacsica de China como objeto de investigaciónvesttoma la historia como espejo para seguir considerando y prospectar la construccióonstrusistema de disciplina de la teoríeorla teordesica de China. Los fundamentos de la mtsica china pueden dividirse, a grandes rasgos, en tres periodos: (1) desde principios del siglo XX hasta la fundacióundacita la blica Popular China; (2) desde ese momento hasta el periodo de reforma y apertura; y (3) desde el periodo de reforma y apertura hasta la actualidad. La teoríeor teord. La teord. evolucionóvoluciond. La teord. Lfundacióundaciond. Lblica Popular China a travéravulun proceso de aceptaciócepasiva y absorcióbsactiva, como puede observarse en el desarrollo de la enseñanza de la teoríeorla teorde la ene lasica china y sus materiales didrcticos. La teoríeor teora teordidiales dpropagórprincipalmente desde el palacio a la iglesia, luego a las escuelas y finalmente a la sociedad. Como resultado, la enseñanza de la teoría musical china evolucionóvprogresivamente hacia un sistema menor mayor como modo dominante, y los fundamentos de la mtsica china se desviaron gradualmente. Tras el establecimiento de la Repiblica Popular China, la investigaciónvestigaciina, lprofundizado, lo que ha beneficiado el crecimiento de la disciplina de la teoríeorla teorbásica, que ahora se dirige hacia la diversificacióiversifprofundidad. El desarrollo de la teoríeorla teorde la teor teor de la tecontado con la ayuda de varios music musicusieducadores musicales de diversos campos académicos y puntos de vista de la investigaciónvestimodelo ideal de la construccióonstruccdisciplina de la teoríeorla teorde la teoconcibe sobre la base del principio de “combinar la historia con la teoríeor la tpeinar el desarrollo de la teoríeorla teordesica en China. Este modelo fomenta la integracióntegraciteoríeorgracirasica tradicional y la teoríeora teorlsica moderna desde una perspectiva diacrónica, refuerza la unidad del padel pal pmundo en la teoríeorla teorsica bcsica desde una perspectiva sincrónica, y presta atenciótenciiaconnotacióonnotacitecnología en su conjunto. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Reconception of Performance Study in the Philosophy of Music EducationValerie L. TrollingerThe actual place of performance in music education has been the subject of numerous debates over the years. Most debates have revolved within the paradigm of the performance ability of the teacher and consequently the performance ability of the students. Is the level to be attained that of a winning concert band/marching band/choir? Or, is (...) the level to be attained the level at which the students and teacher feel the most comfortable and pleased? Most of this debate, along with the development of various assessments (including the Watkins-Farnum Test) and various rubrics to score music performance competitions, has emphasized characteristics of performance pertaining to accuracy of notes, precision of rhythm, and attendance to musicianship, style, and interpretation. On the other hand, the aesthetic value of performance has also been questioned in that the value of music in the schools should not be assessed solely by the importance placed on the attainment of performance skills by the students, suggesting that it is only through performance that one may know music. For example, in a recent article in the Music Educator's Journal,1 Bennett Reimer promotes the [End Page 193] position that time spent in either performance studies and active performance in music education (both at the K-12 and college teacher training levels) is not vital to the reconception of the National Standards (USA) for music education and, by extension, the field of music education itself. In the MEJ article, Reimer wrote:there is no reason to believe that highly developed performers make the best general music teachers, just as there is no reason to believe the reverse. We must get over the outdated and unrealistic assumption that performance is the one, singular, royal road to being musical and being an effective music educator.... [T]eachers cannot be expected to do what performance specialists do, and their teacher education curriculum must reflect that fact.2This position has also been recently supported by sociological publications3 and the following statement—echoed by several colleagues of mine—by a music teacher-training specialist,There is one big misconception among many music education students. Many graduates view themselves as musicians who are going into teaching. I attribute my own success to the realization that I am a teacher at heart. My first responsibility is teaching children. The vehicle through which I connect to them is music.4It is likely within the previous paradigm in which these respected authors positioned their arguments for the place of performance in the music curriculum and in that regard these assertions are unquestionably valid. What this particular paradigm concerns is the quantity and quality of performance based on purely musical attributes. The omission is that it does not include the quality of performance in relationship to health-based music education, a growing area of concern in the performing arts medicine field and, by extension, music educators who are concerned about this particular aspect of performance.5 The reason for the concern and hence this paper calling to the philosophical community to re-think the place and quality of performance in music education is that these viewpoints have had a great impact upon the validity of music education, in that they ignore a growing body of research from the performance and medical fields. While it must be made clear for the purposes of this paper that the writers of the above quotes have framed their ideas gracefully within their individual philosophical structures of music education, it must be pointed out that current research and knowledge in performance arts, in its conception as a physical human activity, needs to be incorporated into a revised philosophy of music education and curriculum. Music performance in music education has traditionally been viewed as a cognitive and emotional experience. However, it [End Page 194] is also a psychomotor experience, involving all sorts of soft body tissues, bones, and cartilages, which can enhance or detract from the total musical experience. Many music educators do not get enough instruction in college on how to teach voice or instruments healthfully and this is the reason for the concern... (shrink)

Summary I outline an approach to the phenomenology of improvised music which takes typification and the development of multi‐ordered phenomenological structures as central. My approach here is firmly in line with classical Husserlian phenomenology, taking the discussion of types in Experience and Judgment (Husserl, 1973) and Brudzińska (2015) as guide. I provide a phenomenological analysis of musical types as they are found in improvisational contexts, focusing on jazz in the 20th century. Styles are higher‐order musical types. Musical types are (...) structures that are temporally “thick,” relying on sedimented typification and knowledge, driving expectations as definitional. In most forms of music (including improvised music), musical styles involve maintaining a balance between confirming expectations and flouting expectations. I show that improvised music has a phenomenal structure which is enriched by the communicative and “ real‐time” nature of improvised music. Improvised music can be seen as an exploration of a possibility space rendered by the juxtaposition of the musical types afforded by a performance environment (instrumentation, harmonic and melodic traditions, etc.). I show that improvisation in music is a multi‐vectoral form of communication. The communication is founded in what Dieter Lohmar calls “non‐linguistic thinking.” The expression is constituted in the results of active and synthesis. The culmination of improvisational exploration of possibility spaces is the precisification and enrichment of styles‐as‐types, while in some cases developing new styles in the process. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 5-19 [Access article in PDF] Didactology as a Field of Theory and Research in Music Education Frede V. Nielsen Danish University of Education, Copenhagen Two problem areas which both concern the question of music pedagogy as a field of theory and research are addressed in this paper. The first one concerns the question of the normative and prescriptive versus (...) the descriptive and analytical aspects of music pedagogy. The second is about the theory of and the criteria for the selection of content in music education. In order to address these problems it is necessary to formulate certain preconditions, each of which comprises important distinctions. Preconditions and Problem Areas German pedagogical tradition features the term Didaktik, and when the area in question is placed in relation to an educational subject, such as music, the word and the concept of Fachdidaktik (subject-oriented Didaktik) arises. In Scandinavian countries corresponding concepts can be found.1Two features of the German concept of Didaktik should be emphasized. First, it denotes both the theory and science and the planning and decision-making of teaching and learning. Thus it refers to the theoretically oriented as well [End Page 5] as the practically directed concerns in pedagogy. Second, from the point of view of disciplines, Didaktik is part of the discipline of pedagogy, but there are diverging conceptions and theories of how it is to be delimited in relation to other subsections of pedagogy (such as teaching methodology). Roughly speaking, there exists a narrow or specific conception of Didaktik, which is first and foremost concerned with the question of the content, aim, and rationale of teaching and learning, together with the criteria for the selection of content, and a wide conception, according to which practically all problems regarding teaching and learning are viewed as didaktisch (including questions of teaching methods, forms of organization, and the choice of media).Significant arguments can be put forward in favor of the specific concept of Didaktik because it provides the opportunity (and actually the compulsion) to focus distinctly and separately on the fundamental issue of educational content and its selection. From this specific point of view, Didaktik can be defined as dealing with the theory and science, together with planning and decision-making, about the rationale, aim, and content of teaching and learning. The most central didactic question may then be formulated in this way: What is essential to learn, and therefore to teach, and why? In the present context it is important to note that this definition comprises both a descriptive/analytical and a prescriptive/normative determination of Didaktik. Hence arises the first of the problem areas I intend to address in greater detail, that is, the question of the normative and prescriptive character of pedagogy versus its descriptive, analytical, and scientific standing (in the present case that part of pedagogy which I have termed Didaktik).Several types of high-level rationale for the selection of teaching/learning content can be established. For general education in a subject like music (yet with application to other subjects as well) I have formulated four such types, which I also refer to as paradigms.2 Here I use the word "didactics" in the sense of the German Didaktik. The first type I call "basic subject didactics" in which the point of departure is the subject itself and its structure, in our case the subject of music. There is more on this point below. The second type is "ethno-didactics" in which the point of departure is pupil culture and the everyday experience of the pupils or criteria arising out of current local culture. It represents a micro-cultural position in post-modern style. The third type is "challenge didactics" in which the point of departure is the great social problems, such as environmental issues, global North-South relations, conditions of democracy, or for that matter terrorism. This position may be said to have a macro-cultural, problem-oriented, and inter-disciplinary bias. A theory of social criticism is a frequent theoretical anchoring point... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 5-19 [Access article in PDF] Didactology as a Field of Theory and Research in Music Education Frede V. Nielsen Danish University of Education, Copenhagen Two problem areas which both concern the question of music pedagogy as a field of theory and research are addressed in this paper. The first one concerns the question of the normative and prescriptive versus (...) the descriptive and analytical aspects of music pedagogy. The second is about the theory of and the criteria for the selection of content in music education. In order to address these problems it is necessary to formulate certain preconditions, each of which comprises important distinctions. Preconditions and Problem Areas German pedagogical tradition features the term Didaktik, and when the area in question is placed in relation to an educational subject, such as music, the word and the concept of Fachdidaktik (subject-oriented Didaktik) arises. In Scandinavian countries corresponding concepts can be found.1Two features of the German concept of Didaktik should be emphasized. First, it denotes both the theory and science and the planning and decision-making of teaching and learning. Thus it refers to the theoretically oriented as well [End Page 5] as the practically directed concerns in pedagogy. Second, from the point of view of disciplines, Didaktik is part of the discipline of pedagogy, but there are diverging conceptions and theories of how it is to be delimited in relation to other subsections of pedagogy (such as teaching methodology). Roughly speaking, there exists a narrow or specific conception of Didaktik, which is first and foremost concerned with the question of the content, aim, and rationale of teaching and learning, together with the criteria for the selection of content, and a wide conception, according to which practically all problems regarding teaching and learning are viewed as didaktisch (including questions of teaching methods, forms of organization, and the choice of media).Significant arguments can be put forward in favor of the specific concept of Didaktik because it provides the opportunity (and actually the compulsion) to focus distinctly and separately on the fundamental issue of educational content and its selection. From this specific point of view, Didaktik can be defined as dealing with the theory and science, together with planning and decision-making, about the rationale, aim, and content of teaching and learning. The most central didactic question may then be formulated in this way: What is essential to learn, and therefore to teach, and why? In the present context it is important to note that this definition comprises both a descriptive/analytical and a prescriptive/normative determination of Didaktik. Hence arises the first of the problem areas I intend to address in greater detail, that is, the question of the normative and prescriptive character of pedagogy versus its descriptive, analytical, and scientific standing (in the present case that part of pedagogy which I have termed Didaktik).Several types of high-level rationale for the selection of teaching/learning content can be established. For general education in a subject like music (yet with application to other subjects as well) I have formulated four such types, which I also refer to as paradigms.2 Here I use the word "didactics" in the sense of the German Didaktik. The first type I call "basic subject didactics" in which the point of departure is the subject itself and its structure, in our case the subject of music. There is more on this point below. The second type is "ethno-didactics" in which the point of departure is pupil culture and the everyday experience of the pupils or criteria arising out of current local culture. It represents a micro-cultural position in post-modern style. The third type is "challenge didactics" in which the point of departure is the great social problems, such as environmental issues, global North-South relations, conditions of democracy, or for that matter terrorism. This position may be said to have a macro-cultural, problem-oriented, and inter-disciplinary bias. A theory of social criticism is a frequent theoretical anchoring point... (shrink)

Thought style and thought collective are two well-known concepts from Ludwik Fleck’s theory of science, which he originally formulated in Polish and German. This paper contends that these two concepts cannot be fully understood without a third—Stimmung/nastrój, which is one of the musical metaphors that play an important role in Fleck’s thinking. Because it is most often translated into English as “mood”, Fleck’s musical metaphors are mostly lost in translation, appearing as mere rhetoric. Only if and when we understand (...) Stimmung/nastrój in the musical meaning of attunement, we can fully understand thought collectives, for which Stimmung/nastrój is sine qua non, and thought style, which appears if and when a collective turns out to be an enduring and not a momentary one. (shrink)

Philosophical exploration of individualism and externalism in the cognitive sciences most recently has been focused on general evaluations of these two views (Adams & Aizawa 2008, Rupert 2008, Wilson 2004, Clark 2008). Here we return to broaden an earlier phase of the debate between individualists and externalists about cognition, one that considered in detail particular theories, such as those in developmental psychology (Patterson 1991) and the computational theory of vision (Burge 1986, Segal 1989). Music cognition is an area in (...) the cognitive sciences that has received little attention from philosophers, though it has relatively recently been thrown into the externalist spotlight (Cochrane 2008, Kruger 2014, Kersten forthcoming). Given that individualism can be thought of as a kind of paradigm for research on cognition, we provide a brief overview of the field of music cognition and individualistic tendencies within the field (sections 2 and 3) before turning to consider externalist alternatives to individualistic paradigms (section 4-5) and then arguing for a qualified form of externalism about music cognition (section 6). (shrink)

This volume, reproducing a special issue of The Journal of Aesthetics and Art Criticism on &"The Philosophy of Music&" (Winter 1994) with a revised introduction and two new articles, is distinguished by its breadth of content, diversity of approaches, and clarity of argument, which should make it useful for classroom teaching. The topics covered include musical representation, the expression of feeling in music, the metaphysics of operatic speech and song, musical understanding, musical composition, feminist music theory, (...) class='Hi'>music and politics, music and racial identity, music in non-Western cultures, and the ontological implications of recording technology for rock music. The approaches used are philosophical, historical, social and political, feminist, and ethnomusicological. The book includes discussions of a great many styles and historical periods of music, from ancient Greek music and music theory to instrumental and operatic music in the Western classical tradition, Persian music, music of the Blackfoot Indians, rock and the blues, and the avant-garde compositions and performances of John Cage. The contributors, all eminent scholars in the field, are Philip Alperson, No&ël Carroll, Stephen Davies, Claire Detels, John Andrew Fisher, Lydia Goehr, Peter Kivy, Jerrold Levinson, James Manns, Bruno Nettl, Jenefer Robinson, Joel Rudinow, G&öran S&örbom, Francis Sparshott, and Kendall Walton. (shrink)

Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju biti (...) odgovorni za poučavanje o istinskoj prirodi umjetnosti; umjetnost ne može biti jednaka estetskom iskustvu; društvo se mora reorganizirati u društvo bazirano na vokaciji, što je analogno Platonovu mišljenju.Philosophy of Art in the thinking of Anande Kentish Coomaraswamy is connected with traditional philosophy. Aesthetics in modern sense has nothing to do with traditional philosophy of art which basic principle is “The artist is not special kind of man” but “Every man is special kind of artist”. Coomaraswamy wants to redefine contemporary approach to art. Contemporary artist does not create in accordance with Eternal Truth.art is not iconography of transcendental forms but real picture of disoriented mentality. In order to redefine approach to art basic language of art must be changed; educators and curators must have responsibility to teach about true nature of art; art can not be equal with esthetic experience; society must be reorganized into one that is based on vocation in analogy with Plato’s thought. (shrink)

The theory of Participatory Discrepancies (or PDs) claims that minute temporal asynchronies (microtiming) in music performance are crucial for prompting bodily entrainment in listeners, which is a fundamental effect of the “groove” experience. Previous research has failed to find evidence to support this theory. The present study tested the influence of varying PD magnitudes on the beat-related body movement behavior of music listeners. 160 participants (79 music experts, 81 non-experts) listened to twelve music clips in either (...) Funk or Swing style. These stimuli were based on two audio recordings (one in each style) of expert drum and bass duo performances. In one series of six clips, the PDs were downscaled from their originally performed magnitude to complete quantization in steps of 20%. In another series of six clips, the PDs were upscaled from their original magnitude to double magnitude in steps of 20%. The intensity of the listeners’ beat-related head movement was measured using video-based motion capture technology and Fourier analysis. A mixed-design four-factor ANOVA showed that the PD manipulations had a significant effect on the expert listeners’ entrainment behavior. The experts moved more when listening to stimuli with PDs that were downscaled by 60% compared to completely quantized stimuli. This finding offers partial support for PD theory: PDs of a certain magnitude do augment entrainment in listeners. But the effect was found to be small to moderately sized, and it affected music expert listeners only. (shrink)

I. History. Mainwaring's Handel : its relation to British aesthetics -- Herbert Spencer and a musical dispute -- II. Opera and film. Handel's operas : the form of feeling and the problem of appreciation -- Anti-semitism in Meistersinger? -- Speech, song, and the transparency of medium : on operatic metaphysics -- III. Performance. On the historically informed performance -- Ars perfecta : toward perfection in musical performance? -- IV. Interpretation. Another go at the meaning of music : Koopman, Davies, (...) and the meaning of "meaning" -- Another go at musical profundity : Stephen Davies and the game of chess -- From ideology to music : Leonard Meyer's theory of style change -- Sibley's last paper -- In defense of musical representation : music, representation, and the hybrid arts -- Music, language, and cognition : which doesn't belong? (shrink)

In this paper, based on computer reading and processing of music frequency, amplitude, timbre, image pixel, color filling, and so forth, a method of image style transfer guided by music feature data is implemented in real-time playback, using existing music files and image files, processing and trying to reconstruct the fluent relationship between the two in terms of auditory and visual, generating dynamic, musical sound visualization with real-time changes in the visualization. Although recommendation systems have been (...) well developed in real applications, the limitations of CF algorithms are slowly coming to light as the number of people increases day by day, such as the data sparsity problem caused by the scarcity of rated items, the cold start problem caused by new items and new users. The work is dynamic, with real-time changes in music and sound. Taking portraits as an experimental case, but allowing users to customize the input of both music and image files, this new visualization can provide users with a personalized service of mass customization and generate personalized portraits according to personal preferences. At the same time, we take advantage of the BP neural network’s ability to handle complex nonlinear problems and construct a rating prediction model between the user and item attribute features, referred to as the PSO-BP rating prediction model, by combining the features of global optimization of particle swarm optimization algorithm, and make further improvements based on the traditional collaborative filtering algorithm. (shrink)

PREFACE. THE Author of this very practical treatise on Scotch Loch - Fishing desires clearly that it may be of use to all who had it. He does not pretend to have written anything new, but to have attempted to put what he has to say in as readable a form as possible. Everything in the way of the history and habits of fish has been studiously avoided, and technicalities have been used as sparingly as possible. The writing of this (...) book has afforded him pleasure in his leisure moments, and that pleasure would be much increased if he knew that the perusal of it would create any bond of sympathy between himself and the angling community in general. This section is interleaved with blank shects for the readers notes. The Author need hardly say that any suggestions addressed to the case of the publishers, will meet with consideration in a future edition. We do not pretend to write or enlarge upon a new subject. Much has been said and written-and well said and written too on the art of fishing but loch-fishing has been rather looked upon as a second-rate performance, and to dispel this idea is one of the objects for which this present treatise has been written. Far be it from us to say anything against fishing, lawfully practised in any form but many pent up in our large towns will bear us out when me say that, on the whole, a days loch-fishing is the most convenient. One great matter is, that the loch-fisher is depend- ent on nothing but enough wind to curl the water, -and on a large loch it is very seldom that a dead calm prevails all day, -and can make his arrangements for a day, weeks beforehand whereas the stream- fisher is dependent for a good take on the state of the water and however pleasant and easy it may be for one living near the banks of a good trout stream or river, it is quite another matter to arrange for a days river-fishing, if one is looking forward to a holiday at a date some weeks ahead. Providence may favour the expectant angler with a good day, and the water in order but experience has taught most of us that the good days are in the minority, and that, as is the case with our rapid running streams, -such as many of our northern streams are, -the water is either too large or too small, unless, as previously remarked, you live near at hand, and can catch it at its best. A common belief in regard to loch-fishing is, that the tyro and the experienced angler have nearly the same chance in fishing, -the one from the stern and the other from the bow of the same boat. Of all the absurd beliefs as to loch-fishing, this is one of the most absurd. Try it. Give the tyro either end of the boat he likes give him a cast of ally flies he may fancy, or even a cast similar to those which a crack may be using and if he catches one for every three the other has, he may consider himself very lucky. Of course there are lochs where the fish are not abundant, and a beginner may come across as many as an older fisher but we speak of lochs where there are fish to be caught, and where each has a fair chance. Again, it is said that the boatman has as much to do with catching trout in a loch as the angler. Well, we dont deny that. In an untried loch it is necessary to have the guidance of a good boatman but the same argument holds good as to stream-fishing... (shrink)

Jenefer Robinson takes the insights of modern scientific research on the emotions and uses them to illuminate questions about our emotional involvement with the arts. Laying out a theory of emotion supported by the best evidence from current empirical work, she examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone interested in the emotions and how they work, as well as (...) anyone engaged with the arts and aesthetics. (shrink)

Schubert's late music has proved pivotal for the development of diverse fields of musical scholarship, from biography and music history to the theory of harmony. This collection addresses current issues in Schubert studies including compositional technique, the topical issue of 'late' style, tonal strategy and form in the composer's instrumental music, and musical readings of the 'postmodern' Schubert. Offering fresh approaches to Schubert's instrumental and vocal works and their reception, this book argues that the music (...) that the composer produced from 1822–8 is central to a paradigm shift in the history of music during the nineteenth century. The contributors provide a timely reassessment of Schubert's legacy, assembling a portrait of the composer that is very different from the sentimental Schubert permeating nineteenth-century culture and the postmodern Schubert of more recent literature. (shrink)

Music is an abstract art form that uses sound as its means of expression. It has deeply affected our lives. This paper proposes a method for extracting segment features from nonmultiple cluster music files. We divide each piece of music into multiple segments and extract the features of each segment. The specific process includes nonmultiple cluster music file note extraction, main melody extraction, segment division, and segment feature extraction. The segment feature is extracted from a segment (...) of a piece of music, contains the main melody and accompaniment information of the segment, and can reflect the sequence relationship of the notes. This paper proposes a performance style conversion network based on recurrent neural network and convolutional neural network. The bidirectional recurrent neural network based on Gated Recurrent Unit is used to extract different styles of note feature vector sequences, and the extracted note feature vector sequence is used to predict the intensity of a specific style, and the intensity changes of different styles of nonmultiple cluster music are better learned. Through the comparison, the multiclassification strategy of “one-to-the-rest” is selected, and the fuzzy recurrent neural network is applied to the shortcomings of the unrecognizable area. Finally, according to the feature extraction method and the principle of the classifier algorithm studied in this paper, a music style classification system is implemented in the MATLAB environment. Experimental simulation shows that this system can effectively classify music performance styles. (shrink)

Background Metaphors are central to the human understanding of complex issues; through the immediate associations they evoke and frame problems and suggest solutions. Our suggestion of Music in the Park as a metaphor for health systems reform brings to the forefront the environmentally diverse but bounded spaces of health services that offer a variety of attractors within their confines, while pushing into the background organizational and economic concerns.Reflections Parks, like health services, are embedded in their local landscape, serving their (...) communities, but most importantly parks are public spaces, publically funded, ideally offering universal access and equity and to be shared by all who want to go there.Music, like health, is tangible, technical and scientific, yet ultimately experiential and based on meaning. While it encompasses a wide range of styles and approaches, music making requires as its most important skill active listening which brings with it to be ‘in the moment’, to take personal risks and to draw energy and inspiration from the participants. Hence ‘audiences’ are equally active participants because music only has meaning if it internally resonates with the listener and only can exist in what is a co-constructed experience.Conclusions Music in the Park is a metaphor for primary health care systems based on shared values of experts and unique local communities. Health professionals are players in this arena, who develop and practise the full range of their skills in response to individual and community needs and preferences. Their leadership works through inspiration and empowerment, making patients ‘co-producers’ of their own health and ‘co-shapers’ of their health services. (shrink)

In their article, “The Rise of Citizen Science in Health and Biomedical Research,” Wiggins and Wilbanks (2019) discuss the rising role of a variety of traditional and newer citizen science models i...

_A philosophical exploration of the power that poetry, music, and the erotic have on us._.

In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels of (...) automation and his ability to respond to emerging hazard or assessing driver’s ability to monitor the vehicle performing operational tasks in higher levels of automation. Unfitted DFS (e.g., drowsiness) may impact the driver ability respond to taking over abilities. This paper reviews the most appropriate psychophysiological indices in naturalistic driving while considering the DFS through exogenous sensors, providing the more efficient trade-off between reliability and intrusiveness. The DFS also originates from kinematic data of the vehicle, thus providing information that indirectly relates to drivers behaviour. The whole data should be synchronously processed, providing a diagnosis on the DFS, and bringing it to the attention of the decision maker in real time. Next, making the information available can be permanent or intermittent (or even undelivered), and may also depend on the automation level. Such interface can include recommendations for decision support or simply give neutral instruction. Mapping of relevant psychophysiological and behavioural indicators for DFS will enable practitioners and researchers provide reliable estimates, fitted to the level of automation. (shrink)

The Issue of Abortion in America is an interactive multi-media CD-ROM created by the award winning Carnegie Mellon team that brought us A Right to Die?: The Dax Cowart Case. In this ground breaking CD-ROM, The Issue of Abortion in America gives users an opportunity to see and hear women and couples speak of the emotional struggles and moral dilemmas they face in their consideration of continuing or terminating a pregnancy. It also places the issue of abortion in the larger (...) social context of medical, legal, philosophical, and religious considerations. The information on the CD is presented in three student friendly sections: * Introduction: offers an introduction to the project as well as an overview of the program. * Case Histories: a set of interactive multimedia modules present situations in which women and couples describe their decisions to continue or terminate a pregnancy. * Resources: Reviews the background context that informs the discussion of the issue of abortion in America along with a summary section of the case histories. (shrink)

This collection of essays provides the first in-depth examination of camp as it relates to a wide variety of twentieth and twenty-first century music and musical performances. Located at the convergence of popular and queer musicology, the book provides new research into camp's presence, techniques, discourses, and potential meanings across a broad spectrum of musical genres, including: musical theatre, classical music, film music, opera, instrumental music, the Broadway musical, rock, pop, hip-hop, and Christmas carols. This significant (...) contribution to the field of camp studies investigates why and how music has served as an expressive and political vehicle for both the aesthetic characteristics and the receptive modes that have been associated with camp throughout twentieth and twenty-first-century culture. (shrink)