A puzzling finding from research on strategic decision making concerns the effect that predictions have on future actions. Simply stating a prediction about an opponent changes the total probability (pooled over predictions) of a player taking a future action as compared to not stating any prediction. These interference effects are difficult to explain using traditional economic models, and instead these results suggest turning to a quantum cognition approach to strategic decision making.

Topics in Cognitive Science, Volume 14, Issue 3, Page 492-507, July 2022.

The case is presented for a dilemmatic perspective to the educational provision for pupils and students with difficulties and disabilities. This perspective recognises the links and tensions between social and individual values and models. The paper focuses on the central significance of dilemmas of difference in understanding policy and practice issues in the field. One of the central arguments is that a commitment to inclusion implies a commitment to meeting the needs of a minority and therefore to arrangements which may (...) not be required by the majority. Inclusion is about mainstream schools accommodating a full diversity, and in doing so leads inevitably to adopting dedicated or specialised support systems for some. The paper provides an overview of recent changes in policy and practice as well as looking at possible future trends. An inter-disciplinary model which connects individual and social perspectives is proposed both for explanatory purposes and for designing provision in terms of the interaction between the inclusivity of the system and responding to additional individual needs. (shrink)

This paper reports on part of an evaluation of teacher support teams as a special education needs support strategy in primary schools. Using a mixture of quantitative and qualitative evaluation methods, it focuses on areas derived from a theoretical framework for understanding schools’ approaches to SENs. TSTs were set up and run in six of the eight schools, with meetings of between 30 and 45 minutes, usually during lunchtime or after school. Most of the referrals were about behaviour problems, though (...) many were about learning difficulties. The support included providing emotional encouragement, specific approaches to managing behaviour, teaching strategies and consulting others. Referring teachers reported that their TST experience led to increased confidence and some improvements in the children, while TST members themselves believed that they had gained much from the TST experience. Overall the study showed the feasibility and benefits of setting up TSTs in primary schools. The findings are discussed in terms of the wider benefits of TSTs and their relevance to special needs policies and the implementation of the SENs code of practice. (shrink)

Transitional justice scholars are increasingly concerned with measuring the impact of transitional justice initiatives. Scholars often assume that TJ mechanisms must be properly designed and ordered to achieve lasting effect, but the impact of TJ timing and sequencing has attracted relatively little theoretical or empirical attention. Focusing on Latin America, this article explores variation within the region as to when TJ occurs and the order in which mechanisms are implemented. We utilize qualitative comparative analysis to assess the impact of TJ (...) timing and sequencing on democratic development. We find little evidence for path dependency owing to the chronological order of mechanisms. We do find, however, that amnesties and trials approach a sufficient condition for democratic consolidation in Latin America; trials, however, come closest to being a necessary condition for successful democratic consolidation. (shrink)

This article begins by describing the impact of systems science on the field of marriage and family therapy, discussing that systems concepts are broadly disseminated but have become diluted. The author describes the educational program at a marriage and family therapy graduate institute where students utilize social systems design in their research projects as well as their work with clients. The article outlines the specifications of the Idealized Systems Design (ISD) teaching system, its relationship with the larger institution, as well (...) as its purposes and systemic functions. Application of ISD to the field of marriage and family therapy is emphasized, demonstrating its use in helping facilitate individual, family, and community health as a research tool as well as a set of intervention tools for the practicing therapist. (shrink)

Multiculturalism as a public policy and philosophy has become increasingly controversial in many democracies over the last decade. While the specific issues can vary across national contexts, a common anxiety is that multiculturalism sanctions minority practices that conflict with prevailing social values or legal norms. Central to this concern is the value liberal societies place on the autonomy of the individual. Many of our most charged public controversies involve a perception that certain minority practices jeopardize the autonomy of their individual (...) members and, especially, their women and children. Just as the value of autonomy is central to these disputes, so the idea of 'authenticity' is often pivotal to the understanding of autonomy in such cases. The autonomous individual acts on reasons that are truly his or her own. But the issue of authenticity also arises in claims for cultural recognition regarding whether a particular minority practice is a genuine or authoritative expression of that minority's culture. Geoffrey Brahm Levey and his distinguished group of philosophers, political theorists, and anthropologists critically explore these twin notions of 'authenticity' – of autonomous persons and of cultures – in our multiculturalism debates. Discussing a wide range of illustrative cases and controversies drawn from Britain and continental Europe, North America, Australia, and the Middle East, they address various issues raised by the complex interactions between authenticity, autonomy, and the accommodation of minority cultural practices. Moving beyond theoretical discussion to consider the practical and policy implications, Autonomy, Authenticity and Multiculturalism challenges and complicates conventional assumptions about authenticity that inform liberal responses to minority cultural claims in Western democracies today. A helpful resource to scholars worldwide in Political and Social Theory, Political Philosophy, Legal Anthropology, Multiculturalism, and, more generally, of cultural identity and diversity in liberal democracies today. (shrink)

Book Information Culture and Equality. Culture and Equality Brian Barry , Cambridge: Polity Press , 2001 , xi + 399 , US$19.95 ( paper ) By Brian Barry. Cambridge: Polity Press. Pp. xi + 399. US$19.95 (paper:).

The dissertation explores the implications of the liberal value of individual autonomy for the rights of cultural minorities in liberal societies. Liberals traditionally have assumed that respect for autonomy precludes the political recognition of citizens' cultural identities. But in recent years a number of self-styled "liberal nationalists" have argued that honoring the value of autonomy actually entitles cultural minorities and their members to a plethora of cultural rights, including political autonomy, minority jurisdiction over land and language, the public subsidization of (...) ethnic festivals, the symbolic recognition of ethnic and religious groups, and even a right to national self-determination. I argue that both the "liberal neutralist" and the "liberal nationalist" accounts of what individual autonomy stands for are mistaken. I present an alternative way of viewing the connection between the value of individual autonomy and claims for cultural recognition, one that preserves the primacy and inherent complexity of this central liberal value. Rightly understood, liberal autonomy supports the political recognition of cultural identity in principle and in a wide range of cases, but the principle and the cases fall well short of the extravagant claims recently made in its name. My analysis suggests that the principle of liberal autonomy sustains a civil right to cultural expression in the manner of classical civil rights, an approach that many liberal democracies implicitly have been moving toward in recent years. (shrink)

Raphael Cohen-Almagor’s Just, Reasonable Multiculturalism offers a different way of approaching multiculturalism from the systematic theoretical treatments that anchor the literature. While strongly committed to liberal democratic values, it presents not so much a theory or moral argument justifying minority or majority cultural rights as a set of values and principles for adjudicating controversial cases and oft-heard arguments against multicultural accommodation. After noting distinctive features of the approach, I discuss three areas of tension in the analysis. First, between its appeals (...) to Rawlsian justice and state neutrality and its support of state multiculturalism. Second, between its stated theoretical principles and its adjudication of some cases. Third, regarding how we think about a state’s entanglement with culture and, specifically, whether that should be in terms of an incomplete liberal neutrality, liberal perfectionism, or liberal nationalism. I suggest that as helpful as Cohen-Almagor’s liberal-democratic guidelines are, there remain some contextual factors which are no less important in justly responding to the pointy end of multiculturalism. (shrink)

A standard problem in empirical inquiry is how to adjudicate between contending theories when they work from different fundamental assumptions. In the field of political sociology, several strategies are adopted, from metatheoretical and comparative historical approaches to the recent formal models of scientific growth proposed by Imre Lakatos and Larry Laudan. After considering the limitations of these approaches, I develop an alternative strategy—"second—order empiricism"—based on the idea that successor theories have an onus to explain the apparent success of their rivals, (...) not only their own and their rivals' anomalies. Such a strategy, I argue, underscores some of the most effective analysis and argument in political sociology, yet is obscured by the appeal to other methodologies. (shrink)

In recent years, countries have begun to establish ministries of transitional justice as part of political transitions from authoritarianism to democracy or from conflict to peace. This may reflect a broader historical trend in the administration of TJ, which has evolved from isolated offices within a particular ministry to ad hoc cross-ministry coordinating bodies to the establishment of dedicated ministries. The reasons for the establishment of specific ministries to pursue TJ, what we call ministerialization, have not attracted scholarly attention. This (...) article explores the causes and likely consequences of this development. In particular, it applies international relations, comparative politics, and public policy theories to explain the phenomenon. Contrary to some TJ literature that is concerned about hegemonic transnational discourse, international actors have played little to no role in shaping how TJ is bureaucratically managed. Rather, based upon fieldwork in Solomon Islands and Tunisia, the article concludes that ministerialization has been the result of domestic policy entrepreneurship. For TJ ministries to become a norm, however, more transnational actors will need to be convinced of the benefits of such an institutional arrangement. (shrink)

Part one. Brahms and Bruckner : a radical historical, art-theoretical, and artistic contrast. Aspects and issues ; Art and personality ; The conflict ; Art-theoretical controversies ; On historical classification ; Parallelisms and antitheses ; The relation to historicism ; "Heirs" of Beethoven ; Parallelisms and antitheses once more ; Richard Wagner -- Part two. The unknown Brahms. Brahms : an autonomous composer? ; "Young Kreisler" ; Schumann's essay "Neue Bahnen" : a new interpretation ; Schumann and Brahms : Brahms' (...) Schumann variations (op. 9) and Schumann's Davidsbèundlertèanze ; The piano variations op. 23 : a monument to Robert Schumann ; "Benedictus qui venit in nomine Domini" : on the "Mass quotation" in the Adagio of the Piano concerto op. 15 ; A special kind of father-son relationship -- Part three. The unknown Bruckner. Bruckner : "the most absolute of absolute musicians"? ; Bruckner and the program symphony ; On Bruckner exegesis : the "tone symbol of the cross" (Liszt) ; The program of the "Romantic" symphony ; The program of the Eighth symphony : musical semantics and historical contexts. (shrink)

The subject of the study. The article analyzes a number of aspects of Brahms' intermezzo Op. 119 No. 3 in order to detect non-classical tendencies manifested in the structure of the musical fabric and the principles of shaping in this work. Research methodology. In the course of the study, the method of holistic analysis was used, which includes consideration of the features of harmony, textural originality, thematic processes and form-forming patterns in the Brahms intermezzo Op. 119 No. 3. Elements of (...) comparative analysis were also applied. The scientific novelty of the work consists in the fact that as a result of the research it was possible to identify a number of non-classical qualities of Brahms' music, namely: the homogeneity of the sound fabric, a weak degree of differentiation of relief and background in texture, the absence of common forms of sound and passive fragments in musical form. The conceptual kinship of Brahms' principles of working with musical material with the technique of interpenetration of object and space, which became widespread in painting at the beginning of the XX century, was also discovered. Conclusions, the results obtained allow us to conclude that Brahms' intermezzo Op. 119 No. 3 implements a number of non-classical principles of working with musical material that anticipate the discoveries of composers of the Novovensky school. The results of the research can be used in the process of further study of Brahms' creativity and various theoretical aspects of music at the turn of the XIX–XX centuries, as well as in performing and pedagogical practice. (shrink)

Sa?yutta of the P?li Sa?yutta-nik?ya in conjunction with two other versions preserved in Chinese translation in Taish? vol. 2, nos 99 and 100. Then it compares the main teachings contained in the three versions. This comparative study of these three different versions focuses on some shared images of Brahm?s and on disagreements of some teachings presented in the three versions. It reveals similarities and significant differences in structure and doctrinal content, thus advancing the historical/critical study of early Buddhist doctrine (...) in this area. (shrink)

Using new semiotic methods and analyses as the fulcrum of its approaches, the volume aims to clarify why great classical composers from Mozart and Beethoven to Brahms and Wagner fascinate music listeners and lovers from all cultures of the ...

What does it mean to be conservative? What could it mean in the arts? Whoever merely conserves works of art may be a collector but is not an artist. Brahms’s trio op. 40 conserves the hand horn idiom. Yet its aesthetics will not be captured by the opposition of ‘conservative’ versus ‘progressive’. What is superior in terms of technology, Brahms maintained, need not be superior in terms of art.

Da Capo -- Pforta -- Bonn -- Leipzig -- Schopenhauer -- Basel -- Richard Wagner and the birth of The birth of tragedy -- War and aftermath -- Anal philology -- Untimely meditations -- Aimez-vous Brahms? -- Auf Wiedersehen Bayreuth -- Sorrento -- Human, all-too-human -- The wanderer and his shadow -- Dawn -- The gay science -- The Salomé affair -- Zarathustra -- Nietzsche's circle of women -- Beyond good and evil -- Clearing the decks -- The genealogy of (...) morals -- 1888 -- Catastrophe -- The rise and fall of The will to power -- The end -- Nietzsche's madness. (shrink)

Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical acculturation, the perils (...) of modernity, and the challenge, which was very personal to Wittgenstein, of philosophizing amidst what he believed was a dissolution of the resemblances which unite his culture’s ways of life. In particular, Denkbewegungen contains unique remarks on modern music, the problem of Gustav Mahler’s music, and the music of the future. Also, it contains, among other things, some unusually forward-looking remarks on the differences between Brahms and Bruckner, which both probe deeply into the nature of musical creativity and anticipate his later philosophical move beyond the inner/outer divide in his last writings. I shall offer a close reading of Wittgenstein’s remarks on music in Denkbewegungen, which situates them in the broader context of his philosophical development in his middle-period and beyond. I aim to show the deep integration of Wittgenstein’s thinking about music with his philosophical development, his deep sense of cultural lamentation, and his development as a person and as a philosophical expositor. (shrink)

We analyze two problems in mathematics – the first (stated in our title) is extracted from Wittgenstein’s “Philosophy for Mathematicians”; the second (“What set of numbers is non-denumerable?”) is taken from Cantor. We then consider, by way of comparison, a problem in musical aesthetics concerning a Brahms variation on a theme by Haydn. Our aim is to bring out and elucidate the essentially riddle-like character of these problems.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 1-20 MuseSearchJournalsThis JournalContents[Access article in PDF]"This-with-That": A Dialectical Approach to Teaching for Musical ImaginationEstelle R. JorgensenAmong the various approaches to music education, my dialectical and epistemological view offers a way of thinking about music and education and deciding how to go forward in teaching and learning music. 1 In this article I show how this particular philosophical perspective can play out in (...) teaching for the development of musical imagination in a particular musical piece, in particular, Johannes Brahms's Intermezzo, op. 118, no. 2. Three questions lie at the center of this analysis: What is meant by my dialectical approach? 2 How is musical imagination implicated, for example, in a performer's reading of this Intermezzo? How ought one to teach for the development of musical imagination?My response to the first of this trio of questions is predicated on my previous writing, most recently in Transforming Music Education and an essay, "Four Philosophical Models of the Relationship of Theory and Practice." 3 My response to the second applies Mary Reichling's model of images of imagination to a reflection on my approach to this Brahms Intermezzo—a piece I have played over a musical lifetime—with reference to a few of its more obvious features. 4 And my response to the third builds on my extension of Vernon Howard's analysis of learning in Transforming Music Education by drawing on Alfred North Whitehead's elegant model of teaching and learning formulated almost a century ago in his The Aims of Education and Other Essays, again with reference to the self-same piece. 5 In addressing these questions, I show how my dialectical approach can work practically and how the various tensions between aspects of imagination can play out in opposite, even paradoxical, modes of teaching for musical imagination. [End Page 1]What Is Meant by My Dialectical Approach?In choosing a "this-with-that" approach rather than a both/and synthesis or either/or approach to the choices between alternatives in music education, I recognize that in the phenomenal world, educational decisions (as with decisions in other areas of life) are often difficult to arrive at and problematic in their outcomes. I see dialectics as seepages and tensions that arise between alternatives viewed comparatively. 6 These alternatives are not always logically compatible, equally feasible, or easily reconcilable. Rather, resolutions are made on the basis of incomplete information, consequences that flow from decisions are often unexpected, some things are easier to meld than others, and constituent value judgments are sometimes dissonant, even impossible, to reconcile logically and practically. My interest is in describing the epistemological quandaries in which musician-teachers and their students sometimes find themselves practically speaking. I do not seek a "one-size-fits-all" approach because it is impossible to realize practically even if it could be shown to be desirable. Music instruction takes place in the phenomenal world—a world of sometimes messy or fuzzy categories in which the teacher's and student's interests often lie at the margins, where one thing seems to become another 7 —and I seek to describe my own approach to tackling the sorts of practical dilemmas in which I find myself as teacher and student. As such, I am preoccupied with the question, How does one decide what to do as a music teacher or learner?For me, the best angle from which to address this question has been from a dialectical perspective. I came to this position as I reflected on my experience as a music teacher. 8 Things in the phenomenal world were never as simple as the theoretical models upon which I drew supposed. I was often faced with choices, and these choices were sometimes easily made and sometimes not. This practical experience resonated with that of others on a similar journey. For example, I. A. Richards remarks that Socrates enjoyed the friendship of those who were able to see both the "one-and-the-many... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 64-66 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Anne Sinclair Indiana University Mary Reichling's exploration of form, feeling, and isomorphism in the writings of Susanne Langer accomplishes its goal to examine and elucidate aspects of these concepts. I find several of the ideas presented very engaging. Musical form and feeling are (...) very real to me in my experience as a music and liturgy director in the Catholic Church. I wholeheartedly agree with the concept of the processual nature of both, which has been well articulated. In my life experience, the musical form, the feeling inherent in it, and its process of coming to life in a given moment, is a near-weekly event. The church continually solemnizes life events, and musical form is an integral part of that solemnization. My response centers on the following claim: "Feeling is not a product but a process, it follows that the feeling ends when the music stops"; and question, "How can it be educational?"The example of the drama, King Lear, is very interesting. Indeed, as we get caught up in the action of the production, we become connected to the feelings and lives of the characters. I agree that it might be easier to experience feeling in a drama or epic, rather than in the visual arts, or in our sonorous art. The drama connects us to the human condition and we "feel" for the characters. In my position [End Page 64] as a liturgist, I find myself in a situation similar to that of the director of a play. Indeed, at times there is a very fine line between drama and good liturgy. However, in the liturgy we are connecting with real lives, the lives of our assembly members, not the lives of fictitious characters. Good musician liturgists strive to give voice to the emotions of the assembly. While I admit this is not always accomplished in weekly Sunday liturgies, I think especially of funeral liturgies where the music strives to speak of the hope and promise of eternal life for the departed loved one and also of the feelings of grief experienced by the assembled family and friends.I take issue with the idea "that the feeling stops when the music does." Throughout the body of the paper, Reichling highlights Langer's ideas on music's "sonorous image of feeling in an imaginatively perceptible form" and her use of the terms "semblance," "illusion," and "virtual" in regard to feeling. However, in contemplating the points brought forth, I mentally wrestled with the idea of feeling stopping when the music did. Could this position be held because it was based on what might be referred to as a "virtual" experience (for example, a musical concert or show) rather than a "real-life" moment?During the process of this contemplation, I had the occasion to attend the funeral of a friend's husband. This funeral occurred in a faith tradition other than Catholicism and I participated in the service as a member of the congregation. My friend is a music educator, her husband had been a musician, and both had been active in the music ministry of their church for nearly thirty years. As one might imagine, music was a central element in the solemnization of this man's life. The music was brought to life by an extraordinary group of musicians, including many graduate students and faculty members of the Indiana University School of Music. The music was superb and each piece had relevance to the life being celebrated as well as to the moment at hand, saying goodbye. The choir was wonderful, sharing movements from both the Brahms and Fauré Requiems, which were very moving. The soloist was renowned soprano, Sylvia McNair, an "adopted" member of the family since her days years ago as an Indiana University graduate student. Musical form and feeling came together in a powerful way for me during her singing of Fauré's Pie Jesu as she... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 157-169 [Access article in PDF] Praxis and the PossibleThoughts on the Writings of Maxine Greene and Paulo Freire Randall Everett Allsup Columbia University Authors in a recent edition of the Philosophy of Music Education Review have assayed various understandings of praxis within the domain of music learning and teaching. 1 Leadened (perhaps) by history, this six-letter word sustains a multiplicity of meanings. (...) Philosophers as disparate as Aristotle, Marx and Engels, Sartre, Marshall Sahlins, Pierre Bourdieu, and David Elliott have represented praxis as a form of cultural-doing—but in many instances, this is where the similarities end. 2 By stirring up the pot, editor Estelle Jorgensen has sought to lighten history's burden, lest the word praxis suffer ossification, territorial over-use, or (worse) over-simplification.My first encounters with the word praxis were not particularly weighty or didactic. In graduate work with Maxine Greene, I would often hear praxis associated with the arts, with possibilities, openings, or alternatives. Greene does not construct a philosophical stance around the word; rather the conditions for praxis exist within the imagination, within "the capacity to look at things as if they could be otherwise." 3 Recalling Emily Dickinson, Greene writes that "imagination lights the possible's slow fuse." 4 Praxis, I think, is not simply the capacity to imagine alternative scenarios, but is instead the slow burning fuse of possibility and action. [End Page 157] This definition connects nicely with Paulo Freire, the revolutionary pedagogue who is of late often paired with Greene. 5 "Human activity," writes Freire, "consists of action and reflection: it is praxis." 6 The result is action upon our world.I must admit that as a long time fan of Freire (and as a student and friend of Greene), I have often wondered what exactly it means to act upon one's world, to name's one's world—especially as a music educator. Can such action lead to the creation of a love song? Can we say that certain art forms like the blues, be-bop, and jam band are more praxial than others? Might an encounter with Brahms lead to potentially transformative action upon my world?Freirian praxis, for sure, is non-neutral; it occurs when we disavow the traditional separation between abstracted learning and real life. After September 11, for example, my freshman music education majors created a requiem for the missing and the dead. This was the most difficult teaching I have ever facilitated. Before beginning our composition, we listened to several movements from the Faure Requiem, particularly the "In Paradisum": "May the choir of angels receive thee, and with Lazarus, once a beggar, mayst thou have eternal rest." We tried to attain Faure's sense of peace and hope; we admired his assurance that those who were gone were at rest, at peace. And we shared stories, and talked about our feelings and our pain. 7During this time, even the ordinary became infused with meaning. Banal pop music, like Enrique Inglesia's Hero, became a tribute song for many, including myself. Suddenly full of significance and relevance, I attended more closely to the simplicity of his chords and the sotto voce color of his voice: Would you die for the one you love? Hold me in your arms tonight. I wanna be your hero... The fact that this was an ordinary love song written some time before the terrorist attacks does not negate my feelings for it. Like Faure's requiem, it brought me a degree of comfort. In addition, I found solace in the music of Aaron Copland, particularly Quiet City. The open intervals seemed to speak of piece, quietude, and space. The opening trumpet recitative was defiant, but introspective—the English horn felt dark and mournful. I wanted to be back in an earlier New York, like the one that Copland knew and loved.Of course, acting upon our world requires inaction: thinking, perceiving, reflecting, reconceptualizing, connecting. For Freire and Greene, transformational or liberatory practice cannot... (shrink)

This book reflects the increasing significance of musical performance studies in recent decades. Originally published as separate essays over thirty years, the twelve chapters have been refashioned as a monograph which is both scholarly in nature and intensely personal, building on the author's extensive musical experience, most notably as a pianist. Hence the primary focus on piano music by Chopin, Schubert, Liszt, Brahms and Rachmaninoff. The book's cross-cutting themes nevertheless apply to diverse performance idioms and domains. By exploring themes in (...) complementary ways, the book offers broad insights into musical ontology, epistemology and semantics while demonstrating various methodologies now used to study performance. Among other things, it highlights the powerful effects that experiencing music in performance can have on those who take part in it, in any capacity. There are many practical insights too. The volume has four sections, focusing on 'performance and performance studies', historical performance, analysis and performance, and artistic research. Case studies of romantic masterpieces for the piano feature throughout. (shrink)

My pleasure in being here, at the Studiecentrum Soeterbeeck, to discuss the book Roger Scruton wrote on beauty, is twofold. It so happens that I am finishing a book on facial expression and facial beauty, and the chapter I sent to Roger to request his comments, resurfaced unopened in my own mail box, last week. Apparently something went wrong in the mail. Today I might get some of those comments. Secondly, reading Roger’s book, an impression of a kindred spirit has (...) stuck with me throughout.1) Sometimes, though, something like an ungrounded preference surfaces, which for Roger, clearly has intuitive force, maybe even the force of a conclusion, but for me this doesn’t always ring true. I only mention two instances where my own preferences would be different. One is, where after rightly criticising the reverence allotted to Duchamp’s Fountain, in a single sentence (on p. 98) both Radiohead and Brahms are mentioned, in an obvious effort to disqualify the former. The other is where he defends film as an art by comparing it to traditional art, by pointing to shots from an Ingmar Bergman movie, which “would sit on your wall like an engraving, resonant, engaging and composed.” (p. 102). What the incidental surfacing of such preferences makes available to us is that doing aesthetics is not a merely technical philosophical endeavour, but involves art criticism, from time to time. If you don’t love art or its core values, how could you do aesthetics? And there is a deeper thought behind this in Roger’s writings: that the use of taste belongs to the good life.2) All this, also, indicates my predicament, here and now. I feel most inclined.. (shrink)

Listening to the Concerto for Violin and Orchestra in D-major by Brahms takes twenty-two minutes. It varies a few minutes depending of the soloist and conductor, but the duration is fairly constant. Reading Anna Karenina by Leo Tolstoy takes many hours. The duration varies a lot depending on the reader's pace, but reading literature, just as listening to music, takes a considerable amount of time. Looking at a work of visual art, on the other hand, typically takes less than a (...) minute. This may be an exaggeration, but museum studies show that visitors to an art museum usually spend only a few moments in front of the individual work of art. Jeffrey K. Smith and Lisa F. Smith found that visitors to the Metropolitan... (shrink)

A fascinating and hugely original book that explains how a vexing technical puzzle was solved, making possible some of the most exquisite music ever written. From the days of the ancient Greeks, the creation of music was thought to be governed by divine and immutable mathematical certainties. But over time skeptics came to understand that those rules limited harmonic possibilities. In Temperament , we see the traditionalists and the innovators battling across the centuries, engaging great thinkers like Newton, Kepler, and (...) Descartes as well as musicians, craftsmen, church leaders, and heads of state. At the heart of their dispute is the question of how the tones of a musical scale should be selected. The breakthrough came in the eighteenth century, when the modern keyboard was given perfect musical symmetry through a tuning of equal temperament, each pitch reliably equidistant from the ones that precede and follow it. This tuning allows a musical pattern begun on one note to be duplicated when starting on any other; it creates a musical universe in which the relationships between tones are reliably, uniformly consistent--a universe of greatly expanded possibility, one that allowed Liszt, Chopin, Brahms, Debussy, and all those who followed to compose the piano music we listen to today. Stuart Isacoff relates the story of the reinvention of the piano--a story that encompasses social history, religion, philosophy, and science as well as musicology--in a concise and sparkling narrative. Temperament is a jewel of a book. (shrink)

Music and the symptom -- The acoustic mirror as formative of auditory pleasure and fantasy : Chopin's Berceuse, Brahms's Romanze, and Saariaho's "Parfum de l'instant" -- Debussy and the three machines of the Proustian narrative -- Chopin dreams : the Mazurka in C♯ minor as sinthome -- Intermezzo : on agency -- Postmodern quotation, the signifying chain, and the erasure of history -- Lutoslawski, molar and molecular.