The literature on rock music in socialism oscillates between presenting it in opposition to the socialist society and being part of it. This article tackles the same question by looking at the moments where rock musicians found themselves at odds with mainstream morality: the scandals. Three cases have been selected for analysis: the media campaign against the band Chromatic in 1970, the publication of Ceauşescu’s Theses of July in 1971, and the continuing stream of defectors, including from the rock music (...) scene. The analysis concludes that both sides tended to avoid open confrontations. Rock musicians were no dissidents; they preferred to make music using the available institutional means. Authorities would rather close an eye to problematic events to keep up appearances. Mid-level authorities served as mediators while working for their own benefit. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Listening In: Music, Mind, and the Modernist NarrativeRandall Everett AllsupEric Prieto, Listening In: Music, Mind, and the Modernist Narrative ( Lincoln NE: University of Nebraska Press, 2002)Modernism. The Interpretation of Dreams, the assembly line, The Rite of Spring, the Panama Canal. The modernist sensibility is characterized above all by the "willful big idea"—history as text, a manifesto in conflict with itself and its past. Hopeful and revolutionary like (...) the writings of Karl Marx or progressive and corrupt like the Manhattan Project, such events-as-manifesto had a way of feeding off each other. Through collaboration, conflict, and competition, modernists from Robert Moses to Elliott Carter raced to explain and exemplify, often deliberately creating conflict as if crisis were its own rationale, its own sine qua non. One could hypothesize that this arms race of complexity collapsed—exhausted—about the same time that Communism did. Its failure to sustain its ideas (rather than outpace them one after another) may be one reason we live in an anti-dialectical world, an unmodern place of fundamentalisms and easy freedoms.Author Eric Prieto is at home in the modern world more so than the present; his heroes are French intellectuals after all, those lovers of complexity. In Listening In: Music, Mind, and the Modernist Narrative, he investigates late modernist authors who looked to music as a way to exemplify the inward nature of mind [End Page 93] and the outward nature of place. To understand this book, we must revisit some formal aesthetic theories, namely that music's value resides in its ability to name without signifying, that musical properties like intervallic distance, dynamic contrast, and the space-time component that is rhythm put us in touch with the Kantian a priori—the-thing-in-itself, the Schopenhauerian will. Music as sound-in-itself (to riff on Kant and Schopenhauer) becomes a metaphor for the noumenal world or is mimetic at the very least of the abstract and non-linear nature of thought. Prieto argues that "wherever a music model is present [among his examples] it always serves to further this inwardly directed mode of mimesis I call 'listening in,' where the primary object of representation is not the outside world but the subtly modulating interactions between consciousness and world."1Prieto's book is highly consistent. He masterfully captures the spirit of cooperation from modernist writer to musician to thinker and back. Concentrating on three authors, Robert Pinget, Michel Leiris, and Samuel Beckett, Prieto cites the influences of composers like Bach and Beethoven, as well as philosophers like Wittgenstein and Schopenhauer on their literary works. He brings in thinking from Nelson Goodman and Ferdinand de Saussure. The result is literary criticism as manifesto. Reader beware, this is a book for an elevated audience, those rare folk who are comfortable with structural linguistics, nineteenth-century music aesthetics, specialized academic scholarship, and word puzzles. To explain for example why an author like Beckett is inspired by music to create abstract or associative narratives rather than traditional stories of cause and effect, Prieto writes:In music, this progression necessarily takes place on the level of audible resemblances, but in literature, by virtue of the properties of the two-tiered linguistic sign, analogical progression may take place either on the level of the signifier (via the principle of paronomasia), on the level of the signified (via metaphorical substitutions, as in the association of ideas), or between the two levels (punning, "imitative harmony").2This density of language and concept speak well of Prieto's intellect and one is likewise impressed by his broad understanding of music and letters, yet it is the musical scholar who gets the short end of the deal. Paronomasia? "Audible resemblance" is not a musical term I have heard used. In Listening In: Music, Mind, and the Modernist Narrative, music serves as starting point, an inspiration, not as an equal partner. This holds true for Beckett and Pinget as well as for Prieto. The result can be disconcerting, even to readers like me for whom the cross-disciplinary study of music and literature is a fascinating endeavor.Difficulty, nonetheless, has its rewards and this is one lesson of... (shrink)

A prevailing belief among Russia’s cultural elite in the early twentieth century was that the music of composers such as Sergei Rachmaninoff, Aleksandr Scriabin, and Nikolai Medtner could forge a shared identity for the Russian people across social and economic divides. In this illuminating study of competing artistic and ideological visions at the close of Russia’s “Silver Age,” author Rebecca Mitchell interweaves cultural history, music, and philosophy to explore how “Nietzsche’s orphans” strove to find in music a means to overcome (...) the disunity of modern life in the final tumultuous years before World War I and the Communist Revolution. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Listening In: Music, Mind, and the Modernist NarrativeRandall Everett AllsupEric Prieto, Listening In: Music, Mind, and the Modernist Narrative ( Lincoln NE: University of Nebraska Press, 2002)Modernism. The Interpretation of Dreams, the assembly line, The Rite of Spring, the Panama Canal. The modernist sensibility is characterized above all by the "willful big idea"—history as text, a manifesto in conflict with itself and its past. Hopeful and revolutionary like (...) the writings of Karl Marx or progressive and corrupt like the Manhattan Project, such events-as-manifesto had a way of feeding off each other. Through collaboration, conflict, and competition, modernists from Robert Moses to Elliott Carter raced to explain and exemplify, often deliberately creating conflict as if crisis were its own rationale, its own sine qua non. One could hypothesize that this arms race of complexity collapsed—exhausted—about the same time that Communism did. Its failure to sustain its ideas (rather than outpace them one after another) may be one reason we live in an anti-dialectical world, an unmodern place of fundamentalisms and easy freedoms.Author Eric Prieto is at home in the modern world more so than the present; his heroes are French intellectuals after all, those lovers of complexity. In Listening In: Music, Mind, and the Modernist Narrative, he investigates late modernist authors who looked to music as a way to exemplify the inward nature of mind [End Page 93] and the outward nature of place. To understand this book, we must revisit some formal aesthetic theories, namely that music's value resides in its ability to name without signifying, that musical properties like intervallic distance, dynamic contrast, and the space-time component that is rhythm put us in touch with the Kantian a priori—the-thing-in-itself, the Schopenhauerian will. Music as sound-in-itself (to riff on Kant and Schopenhauer) becomes a metaphor for the noumenal world or is mimetic at the very least of the abstract and non-linear nature of thought. Prieto argues that "wherever a music model is present [among his examples] it always serves to further this inwardly directed mode of mimesis I call 'listening in,' where the primary object of representation is not the outside world but the subtly modulating interactions between consciousness and world."1Prieto's book is highly consistent. He masterfully captures the spirit of cooperation from modernist writer to musician to thinker and back. Concentrating on three authors, Robert Pinget, Michel Leiris, and Samuel Beckett, Prieto cites the influences of composers like Bach and Beethoven, as well as philosophers like Wittgenstein and Schopenhauer on their literary works. He brings in thinking from Nelson Goodman and Ferdinand de Saussure. The result is literary criticism as manifesto. Reader beware, this is a book for an elevated audience, those rare folk who are comfortable with structural linguistics, nineteenth-century music aesthetics, specialized academic scholarship, and word puzzles. To explain for example why an author like Beckett is inspired by music to create abstract or associative narratives rather than traditional stories of cause and effect, Prieto writes:In music, this progression necessarily takes place on the level of audible resemblances, but in literature, by virtue of the properties of the two-tiered linguistic sign, analogical progression may take place either on the level of the signifier (via the principle of paronomasia), on the level of the signified (via metaphorical substitutions, as in the association of ideas), or between the two levels (punning, "imitative harmony").2This density of language and concept speak well of Prieto's intellect and one is likewise impressed by his broad understanding of music and letters, yet it is the musical scholar who gets the short end of the deal. Paronomasia? "Audible resemblance" is not a musical term I have heard used. In Listening In: Music, Mind, and the Modernist Narrative, music serves as starting point, an inspiration, not as an equal partner. This holds true for Beckett and Pinget as well as for Prieto. The result can be disconcerting, even to readers like me for whom the cross-disciplinary study of music and literature is a fascinating endeavor.Difficulty, nonetheless, has its rewards and this is one lesson of... (shrink)

A comprehensive collection of the writings of Mark Fisher (1968-2017), whose work defined critical writing for a generation. This comprehensive collection brings together the work of acclaimed blogger, writer, political activist and lecturer Mark Fisher (aka k-punk). Covering the period 2004 - 2016, the collection will include some of the best writings from his seminal blog k-punk; a selection of his brilliantly insightful film, television and music reviews; his key writings on politics, activism, precarity, hauntology, mental health and popular modernism (...) for numerous websites and magazines; his final unfinished introduction to his planned work on "Acid Communism"; and a number of important interviews from the last decade. Edited by Darren Ambrose and with a foreword by Simon Reynolds. (shrink)

A comprehensive collection of the writings of Mark Fisher (1968-2017), whose work defined critical writing for a generation. This comprehensive collection brings together the work of acclaimed blogger, writer, political activist and lecturer Mark Fisher (aka k-punk). Covering the period 2004 - 2016, the collection will include some of the best writings from his seminal blog k-punk; a selection of his brilliantly insightful film, television and music reviews; his key writings on politics, activism, precarity, hauntology, mental health and popular modernism (...) for numerous websites and magazines; his final unfinished introduction to his planned work on "Acid Communism"; and a number of important interviews from the last decade. Edited by Darren Ambrose and with a foreword by Simon Reynolds. (shrink)

Being-in-time to the music from the ground up is a work in phenomenology, where this term is broadly defined, comprehending Plato, Heidegger, Hegel, and Marx. The most direct referent is Hegel, together with the theoretical revolution that he initiated with Phenomenology of Mind. This text's more general purpose is to set the tone for a 21st communism based upon the idea of dancing with death, assuming full responsibility for one's mortality, and abandoning the self to love as the meaning (...) of existence. This dance is choreographed through my conversations with the above mentioned writers. In conversing with them I aim to displace (if not usurp) them from the throne of honour which is nothing more than the authority borrowed from me. By this I do not intend to deny completely their 'other to me' character. However, they exist or even 'figure' for me, both in the sense of of 'count, ' having importance, as those that I read, and by which I read myself. They have borrowed my authority, namely, my own potential to be an author. So 'reading them is to re-assume that borrowed authority. The life of the reader, to paraphrase Barthes, begins with the death of the author. (shrink)

Realism and Russia? Realism is a notion with multiple meanings, so options abound as to how the two might connect with one another. An old Russian proverb conveys a realist message about social properties: "An individual in Rssia was composed of three parts: a body, a soul, and a passport." (Ruben 1985, 83) Having a passport signals the possession of a complex set of social properties, and if these are taken to be real in some appropriate sense, one is inplying (...) a realist view in social ontology. In another sense of the word, realism is a live issues in the study of international relations. Political realism considers the behaviour of states by emphasizing the importance of national interests and the drive for power on the one hand, and the suppression of moral concerns on the other (e.g. Donnelly 2000). Russian realists hold diverse views about the newly emerged unipolar global power structure and Russia's proper strategy for adjusting to this structure (e.g. Shakleyina and Bogaturov 2004). Realism is a family of viewpoints also in the arts (including painting, music and literature) and their study. Socialist realism is a version that used to be an official doctrine in Russia, gently requesting artists to optimistically represent society's march towards communism, glorifying the heroic role of the proletariat in driving the process. Socialist realism was also well known elsewhere. So much so that in the 1970s, a philosophy professor at the University of Helsinki announced to give a lecture course on "scientific realism" but on its way to the university catalogue through the university administration, the title of the course was transformed into "socialist realism". In the spirit of rectifying that old administrative mistake, the remards to follow deal with scientifit realism as a philosophy of science. The general issue to be addressed is how the social sciences relate to the social world, in both directions. (shrink)

Music is an inescapable part of social, cultural and political life, and has played a powerful role in mobilising support for popular movements demanding social justice. The impact of David Bowie, Prince and Bob Dylan, for example, on diversity awareness and legislative reform relating to sexuality, gender and racial equality respectively is still felt; with the latter receiving a Nobel Prize in 2016 for ‘having created new poetic expressions within the great American song tradition’. The influence of these composers and (...) performers reached far beyond the concert hall. Conversely, musical propaganda has been a common feature of many dictatorships, most notably Nazism’s Adolf Hitler and Communism’s Joseph Stalin, and is still instrumental in the election campaigns of political parties. US President Donald Trump’s winning retro classic rock campaign playlist conveyed an idealised version of the past which aligned with the tastes and interests of his core constituency, and evoked feelings of nationalistic pride and patriotism. The eclectic selection of upbeat music effectively masked the underlying capitalist initiatives, corporate greed and allegations of financial impropriety that characterised both the Democrat and Republican campaigns. Although unable to impart meaning with the same level of precision as language, music has a potentially broader semantic capacity due to its greater elasticity. It constitutes a common language which has the ability to create a community of people that sings, speaks, reasons, votes and even feels the same way. Accordingly, this article explores the symbiotic relationship between music and law, identity politics and social justice, via the lens of musical semiosis. (shrink)

In its open improvisations, lapidary lyrics, errant melodies, and relentless pursuit of spontaneity, the British experimental band Henry Cow pushed rock music to its limits. The band's rotating personnel, sprung from rock, free jazz, and orchestral worlds, synthesized a distinct sound that troubled genre lines, and with this musical diversity came a mixed politics, including Maoism, communism, feminism, and Italian Marxism. In Henry Cow: The World is a Problem Benjamin Piekut tells the band's story-from its founding in Cambridge in (...) 1968 and later affiliation with Virgin Records to its demise ten years later-and analyzes its varied efforts to link aesthetics with politics. Drawing on ninety interviews with Henry Cow musicians and crew, letters, notebooks, scores, journals, and meeting notes, Piekut traces the group's pursuit of a political and musical collectivism, offering up its history as but one example of the vernacular avant-garde that emerged in the decades after World War II. Henry Cow's story resonates far beyond its inimitable music; it speaks to the avant-garde's unpredictable potential to transform the world.--Back cover. (shrink)

Since the close of the cold war, there seems to be a certain constant in the conflicts that have marked multi-national conferences. Again and again, we see the smaller states opposing the efforts of the larger to determine the structures of their relations. One of the factors of this opposition is their fear of losing their identity. In a world increasingly determined by global interests, cultural and economic particularity seems to be a luxury that few can afford. For many, the (...) name of this fear is “globalization.” They take the term as signifying a process that threatens to replace their individuality with an empty universality. Benignly regarded, globalization promises a world where we all drink the same soft-drinks, wear the same jeans, watch the same movies, and listen to the same music--all of it, presumably American. A darker vision sees within such homogeneity the dangers of totalitarianism. As Hannah Arendt noted, totalitarian systems presuppose a certain uniformity to achieve their effect. The ideal they tend to is that of reducing their subjects to a situation analogous to marbles on a table. The slightest tilt will make the marbles roll in the same direction. When citizens lose their individuality, when each is stripped of his particularizing relations to his neighbors, then the state gains the ability to apply a uniform power to produce a uniform effect. Here, the controllability of the response is directly proportional to the reduction of each of us to every one else. In this less benign view, the globalization that American capitalism promotes is actually a new form of totalitarianism. After the fascism and communism of the previous century, its third, capitalistic wave is now upon us. We need not accept this dark vision to feel uneasy about the emerging global community. At the root of our current disquiet is, I think, a sense that an aspect of our selfhood is under attack. The fear is that when we do become just like everyone else, we will lose our privacy.. (shrink)

Though it has been nearly two decades since the fall of Communism in the former Soviet Union and the accompanying disintegration of the Soviet state, a strange aspect of the current cultural situation in Russia and in the other former republics of the USSR is that the people still identify themselves as post-Soviet. Yet, the difference between the Soviet past and a capitalist present is striking, which raises many questions: Why are the new elites referring to the old times (...) to legitimize themselves? Why do commercial advertisements stress that the products they offer are exactly the same as they used to be in Soviet times? And, why, year after year, does the government in Moscow organize impressive celebrations for Victory Day, inevitably drawing parallels to the old Soviet ceremonies? Back in the USSR by Boris Kagarlitsky tackles these questions and more as it reflects on what happened in Russia after the collapse of the old regime and how this has affected social and cultural life, as well as the everyday lives of ordinary people. In this arresting work, Kagarlitsky also delves into what type of intelligentsia still exists in the former USSR and the cultural products that are being produced by these artists, including novels, films, and music. (shrink)

Evidence suggests that humans might have neurological specializations for music processing, but a compelling adaptationist account of music and dance is lacking. The sexual selection hypothesis cannot easily account for the widespread performance of music and dance in groups (especially synchronized performances), and the social bonding hypothesis has severe theoretical difficulties. Humans are unique among the primates in their ability to form cooperative alliances between groups in the absence of consanguineal ties. We propose that this unique form of social organization (...) is predicated on music and dance. Music and dance may have evolved as a coalition signaling system that could, among other things, credibly communicate coalition quality, thus permitting meaningful cooperative relationships between groups. This capability may have evolved from coordinated territorial defense signals that are common in many social species, including chimpanzees. We present a study in which manipulation of music synchrony significantly altered subjects’ perceptions of music quality, and in which subjects’ perceptions of music quality were correlated with their perceptions of coalition quality, supporting our hypothesis. Our hypothesis also has implications for the evolution of psychological mechanisms underlying cultural production in other domains such as food preparation, clothing and body decoration, storytelling and ritual, and tools and other artifacts. (shrink)

Falun Gong was originally a qigong group that entered into conflict with the Chinese state around the turn of the century. It gradually transformed into both a religious group and a political movement. Exiled to the United States, the founder-leader, Li Hongzhi, acquired property near Cuddebackville, New York, which he subsequently designated Dragon Springs. Dragon Springs, in turn, became the headquarters of Shen Yun Performing Arts, an ambitious touring dance and music company that claims to embody the traditional culture of (...) China prior to its subversion by the Chinese Communist Party. Though Li’s earlier eschatology emphasized that individuals needed to become Falun Gong practitioners in order to survive the imminent apocalypse, the significant success of Shen Yun seems to have prompted Li Hongzhi to rewrite his eschatology, which now emphasizes that all one need do in order to be “saved” is to view live Shen Yun performances. (shrink)

Since March 14, 2020, Spanish citizens have been confined to their homes due to the impact of the COVID-19 pandemic. Participating in musical activities has been associated with reduced anxiety and increased subjective wellbeing. The aim of this study is to analyze how Spanish citizens used music during the lockdown period. We also study perceptions of the impact music has in everyday life, in particular examining the respondents’ insights into the effects of listening to music in situations of isolation. The (...) study was conducted using the MUSIVID19 questionnaire administered to a total of 1868 Spanish citizens. The results indicate that during lockdown, respondents perceived an increase in the time they devoted to musical activities such as listening, singing, dancing or playing an instrument. The participants also reported using music to cope with the lockdown, finding that it helped them to relax, escape, raise their mood or keep them company. The findings suggest an improvement in their perception of the value of music in personal and social wellbeing during the lockdown. However, the study reveals significant differences in the use and perceptions of music according to respondents’ personal situations. Age and feelings of vulnerability may lead to more conservative uses of musical practice and to more moderate perceptions of the positive values of music. (shrink)

Metaphysics and Music in Adorno and Heidegger explains how two notoriously opposed German philosophers share a rethinking of the possibility of metaphysics via notions of music and waiting. This is connected to the historical materialist project of social change by way of the radical Italian composer Luigi Nono.

The communist norm requires that scientists widely share the results of their work. Where did this norm come from, and how does it persist? Michael Strevens provides a partial answer to these questions by showing that scientists should be willing to sign a social contract that mandates sharing. However, he also argues that it is not in an individual credit-maximizing scientist's interest to follow this norm. I argue against Strevens that individual scientists can rationally conform to the communist norm, even (...) in the absence of a social contract or other ways of socially enforcing the norm, by proving results to this effect in a game-theoretic model. This shows that the incentives provided to scientists through the priority rule are sufficient to explain both the origins and the persistence of the communist norm, adding to previous results emphasizing the benefits of the incentive structure created by the priority rule. (shrink)

The Consolations of Philosophy by Boethius, whose English translators include King Alfred, Geoffrey Chaucer, and Queen Elizabeth I, ranks among the most remarkable books to be written by a prisoner awaiting the execution of a tyrannical death sentence. Its interpretation is bound up with his other writings on mathematics and music, on Aristotelian and propositional logic, and on central themes of Christian dogma. -/- Chadwick begins by tracing the career of Boethius, a Roman rising to high office under the Gothic (...) King Theoderic the Great, and suggests that his death may be seen as a cruel by-product of Byzantine ambitions to restore Roman imperial rule after its elimination in the West in AD 476. Subsequent chapters examine in detail his educational programme in the liberal arts designed to avert a threatened collapse of culture and his ambition to translate into Latin everything he could find on Plato and Aristotle. -/- Boethius has been called `last of the Romans, first of the scholastics'. This book is the first major study in English of a writer who was of critical importance in the history of thought. (shrink)

This article, taking a social semiotic approach, analyses two pieces of music written, shared and exalted by two pre-1945 European fascist movements – the German NSDAP and the British Union of Fascists. These movements, both political and cultural, employed mythologies of unity, common identity and purpose in order to elide the realities of social distinction and political–economic inequalities between bourgeois and proletarian groups in capitalist societies. Visually and inter-personally, the fascist cultural project communicated a machine-like certainty about a vision for (...) a new society based on discipline, conformity and the might of the nation. In this article, we are interested in the ways that these very same discourses are also communicated through sound and music in two songs: The Horst Wessel Lied and the BUF marching song, two songs that used the same melody. We analyse the discourses communicated by the semiotic choices made in melody, arrangements, sound qualities, rhythms as well as in lyrics. The article first identifies some of the underlying semiotic resources for meaning making in sound and then shows how these are used in order to communicate specific ideas, values and attitudes. (shrink)

Savage et al. propose that music filled a hypothetical “bonding gap” in human sociality by Baldwinian gene-culture coevolution (or protracted cognitive niche construction). Both these stepping stones to an evolutionary account of the function and origin of music are problematic. They are scrutinized in this commentary, and an alternative is proposed.

Aesthetics, hermeneutics, criticism -- Social Werktreue and the subjectivization of aesthetics -- From musike to metaphysics -- Formalist aesthetics and musical hermeneutics -- Deconstructing the disciplinary divide -- The question of metaphor -- Mimesis and the hermeneutics of music -- Political critique and the politics of music criticism -- Toward a hermeneutics of music criticism.

This is a major contribution to political theory and philosophy.

A historically feminized profession, education in North America remains remarkably unaffected by feminism, with the notable exception of pedagogy and its impact on curriculum. The purpose of this paper is to describe characteristics of feminism that render it particularly useful and appropriate for developing potentialities in education and music education. As a set of flexible methodological tools informed by Gilles Deleuze's notions of philosophy and art, I argue feminism may contribute to education's becoming more efficacious, reflexive, and reflective of the (...) values of its participants. Its impetus involves ‘feminist imperative(s)’ to help in the sense articulated by Elizabeth Grosz: to provoke thought, challenge, and problematize. (shrink)

Some artworks—works of music, theatre, dance, and the like—are works for performance. Some works for performance are, I contend, unperformable. Some such works are unperformable by beings like us; others are unperformable given our laws of nature; still others are unperformable given considerations of basic logic. I offer examples of works for performance—focusing, in particular, on works of music—that would fit into each of these categories, and go on to defend the claim that such ‘works’ really are genuine works, musical (...) works and works for performance. I then argue that the very possibility of such works is ontologically significant. In particular, the possibility of these works raises serious problems for type-theoretic accounts of the ontology of music as well as certain mereological or constitution-based accounts. (shrink)

Introduction -- Prelude: a paradox of the ineffable. Schopenhauer's deep copy ; The Platonic solutions ; Four dialectical responses (after Nietzsche) -- Bloch's tone. The tone ; The natural klang ; The expressive tone ; Bloch's magic rattle ; The tone's inner ineffability ; The event-forms ; A dialectical account of music history ; Utopian musical speech -- Adorno's musical fracture. Adorno's tone ; Adorno's conception of history ; The tendenz des materials ; Music's language-like ineffability ; The immanent critique (...) ; The paradox of Mahler's vernacular ; The curve of inconsistency -- Interlude: Wittgenstein's silence -- Jankelevitch's inconsistency. Bergson and the inconsistency of time ; The aporetic source of fidelity ; Charm ; Cosmic silence ; Unwoven dialectics -- Deleuze and Guattari's rhythm. Deleuze's rhythm ; The rhythm of sense ; A structuralist quadrivium ; The rhythm of life ; Sonorous co-extensions -- Conclusion: a paradox of the vernacular. (shrink)

(1982). Sex‐ and Age‐Related Differences in the Musical Behaviour, Interests and Attitudes Towards Music of 232 Secondary School Students. Educational Studies: Vol. 8, No. 2, pp. 131-139.

Since its inception, Shannon's information theory has attracted interest for the study of language and music. Recently, a wide range of converging studies have shown how efficient communication pervades language, from phonetics to syntax. Efficient principles imply that more resources should be assigned to highly informative items. For instance, average information content was shown to be a better predictor of word length than frequency, revisiting the famous Zipf's law. However, in spite of the success of the efficient communication framework in (...) the study of language and speech, very little work has investigated its relevance in the analysis of music. Here, we examine the organization of harmonic information in two large corpora of Western music, one made of MIDI files directly sequenced from scores, and the other made of MIDI recordings of live performances of highly skilled piano players. We show that there is a clear positive relationship between (contextual) information content of harmonic sequences and two essential musical properties, namely duration and loudness: the more unexpected a harmonic event is, the longer and the louder it is. (shrink)

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.

Drawing out the 'unwritten' book on music from which Deleuze left many clues, but no manuscript, the essays in this volume explore what he said and thought about music and how music informed his thinking.

Ancient Greek music was purely or predominantly melodic; and in such music subtleties of intonation count for much. If our sources of information about the intervals used in Greek music are not always easy to interpret, they are at any rate fairly voluminous. On the one hand we have Aristoxenus, by whom musical intervals were regarded spatially and combined and subdivided by the processes of addition and subtraction; for him the octave consisted of six tones, and the tone was exactly (...) divisible into fractions such as the half and quarter, so that the fourth was equal to two tones and a half, the fifth to three tones and a half, and so on. On the other hand we have preserved for us in Ptolemy's Harmonics the computations of a number of mathematicians, who realized correctly that intervals could only be expressed as ratios , that the octave was less than the sum of six whole tones and that this tone could not be divided into equal parts. These authorities are Archytas, the Pythagorean of the early fourth century, Eratosthenes , Didymus and Ptolemy himself . To these we must add the scale of Plato's Timaeus and, closely related to it, the computations of the pseudo-Philolaus and of Boethius himself . Aristoxenus is less easy to understand than the mathematicians because of the unscientific nature of his postulates. His importance, however, is very great, not only from his comparatively early date but because he claims to champion the direct musical consciousness against the scientific approach of some of his predecessors and contemporaries. (shrink)

The music learning environment is a context in which fundamental forces and values underlying human musicality may be evident. Social bonding within music-making groups is characterized by a high degree of complexity whereas issues of clarity, accuracy, and coordination remain the focus of learning. Physical and cognitive impairments that compromise music learning opportunities offer a critical test of music's link to social bonding.

This article examines two interrelated aspects of Mexican regional music response to the coronavirus crisis in the música huasteca community: the growth of interactive huapango livestreams as a preexisting but newly significant space for informal community gathering and cultural participation at the onset of the coronavirus pandemic, and the composition of original verses by son huasteco performers addressing the pandemic. Both the livestreams and the newly created coronavirus disease verses reflect critical improvisatory approaches to the pandemic in música huasteca. The (...) interactive livestreams signaled an ad hoc community infrastructure facilitated by social media and an emerging community space fostered by Do-It-Yourself activists. Improvised COVID-related verses presented resonant local and regional themes as a community response to a global crisis. Digital ethnography conducted since March 2020 revealed a regional burst of musical creativity coupled with DIY intentionality, a leveling of access to virtual community spaces, and enhanced digital intimacies established across a wide cultural diaspora in Mexico and the USA. These responses were musically, poetically, and organizationally improvisational, as was the overall outpouring of the son huasteco music inspired by the coronavirus outbreak. Son huasteco is a folk music tradition from the Huasteca, a geo-cultural region spanning the intersection of six states in central Mexico. This study examines a selection of musical responses by discussing improvisational examples in both Spanish and the indigenous language Nahuatl, and in the virtual musical communities of the Huasteca migrant diaspora in digital events such as “Encuentro Virtual de Tríos Huastecos,” the “Huapangos Sin Fronteras” festival and competition, and in the nightly gatherings on social media platforms developed during the pandemic to sustain the Huastecan cultural expression. These phenomena have served as vibrant points of transnational connection and identity in a time where physical gatherings were untenable. (shrink)

The past 15 years have witnessed an increasing interest in the comparative study of language and music as cognitive systems. This book presents an interdisciplinary study of language and music, exploring the following core areas - structural comparisons, evolution, learning and processing, and neuroscience.

This paper considers whether Marx's views about communism change significantly during his lifetime. According to the ‘standard story’, as Marx got older he dropped the vision of self-realization in labour that he spoke of in his early writings, and adopted a more pessimistic account of labour, where real freedom is achieved outside the working-day, in leisure. Other commentators, however, have argued that there is no pessimistic shift in Marx's thought on this matter. This paper offers a different reading of (...) this debate. It argues that there are two visions of the good life in Marx. However, it suggests that these two visions cannot be understood in terms of a simple shift between a ‘young’ and ‘mature’ Marx. Rather, it claims that Marx moves between these two visions throughout his writings. In this way, it suggests that Marx's intellectual development on this issue is best understood as an oscillation rather than a shift. Once this interpretive claim is advanced, the paper then moves on to consider some potential causes and implications of Marx's life-long oscillation between two different conceptions of the good life. (shrink)

Education in the twenty-first century witnessed a profound shift in emphasis from the teacher to the learner, or from pedagogical inputs to learner outcomes. According to neoliberal logic, the teacher is the primary value-add in a relationship that is best characterized as cause (instruction) and effect (learner outcome). As a result, the problem of teacher quality has emerged as the central question of our day. What is effective teaching? What does teacher quality look like? Traditional music educators will posit that (...) excellence in norm-governed forms is the most reliable measure of teacher quality. This essay makes a case for a richer and more varied conception, embracing diversity and openness as defining ideals. (shrink)

This paper is an exploration of the ideology of National Socialism in the work and activity of the German terrorist group and Black Metal band Absurd. Historians are divided—and many have criticized how postwar Germany dealt with denazification—, but the fact is that Nazi ideology has been part of the political and social spheres in Germany since then. Neo‑Nazism saw a revival especially in the first years after unification, which coincided with the beginning of Absurd’s story and career. Today, they (...) hold the title of the National Socialist Black Metal act par excellence, with a 28‑year music career actively supporting and promoting Nazi ideology. Absurd makes a very interesting case study, since the band has played a key role in preserving and transmitting Nazi ideology, not just in Germany, but also worldwide. (shrink)

This paper is a historical analysis of the contributions of music artistes to the idea of development in Africa in the period between 1974 and 1987. Itseeks to show that concern for the development of the continent was not confined to the intellectual community. Music artistes were not merely interested in entertainment; they also paid attention to the real problems that confronted the society of their time, thereby sharing in the concern of political thinkers of all ages. The works of (...) three artistes - Sonny Okosun, Fela Anikulapo-Kuti and Bob Marley - are selected for detailed examination, although references are made to other artistes. The study depended on primary and secondary source material. The paper is a contribution to knowledge in the field of African Political Thought. (shrink)

Abstract:From a systems-theoretical perspective, community music can be conceived of as a self-referential communication system with the capacity for self-observation and self-description. How do these self-descriptions relate to the economic and social-political agendas of recent decades? This paper argues that community music tends to adapt itself to neoliberal and advanced-liberal agendas by integrating their key semantics into its own self-description. Although this could be seen as a merely strategic necessity, it can be shown that the incorporated semantics not only modify (...) the way community music sees itself, but also “subjectivate” the people community music addresses. The apparent overcoming of neoliberal “individuality” by the advanced-liberal notion of “community” can be shown to be especially dangerous in this regard. (shrink)

North American music education is a commodity sold to pre-service and in-service music teachers. Like all mass-produced consumables, it is valuable to the extent that it is not creative, that is, to the extent that it is reproducible. This is demonstrated in curricular materials, notably general music series textbook and music scores available from a rapidly shrinking cadre of publishers, as well as rigid and pre-determined pedagogical practices. Distributing resources and techniques that produce predicable, consistent, and repeatable goods and services, (...) the economy of music teacher preparation and development must necessarily exclude creativity, which consequently must be viewed as not only inefficient but unprofitable. More than undesirable, however, creativity is constructed as dangerous as it injects difference in a system that relies on sameness. Because of its implications for music education discourse and practices, I focus my discussion on research in general and feminist critique in particular in music education. Reading through Monique Wittig's ‘The Trojan Horse’ as literary war machine, I argue that creative writing and academic research are not mutually exclusive, and that it is only through infusing the literary or creative in scholarly writing that interlocking systems of oppression may be altered and difference implicated in music education. My analysis of Roberta Lamb's (1995) research piece, ‘Tone Deaf/Symphonies Singing: Sketches for a Musicale’ depicts it as Trojan Horse, albeit one that Lamb herself, most likely as a function of editorial imperative, hobbles. (shrink)

"The scholarship of Michael Spitzer's new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner."-Lydia Goehr, Columbia University The experience of music is an abstract and elusive one, enough so that we're often forced to describe it (...) using analogies to other forms and sensations: we say that music moves or rises like a physical form that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music's abstractions by referencing more concrete and familiar experiences. Michael Spitzer's Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music--the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music's meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians. (shrink)

By challenging the state and corporate prerogatives to distinguish between “good” and “bad” development, social movements by and in support of inhabitants of Rosia Montana (Transylvania) are subverting prevailing perceptions about Central and Eastern Europe (CEE)’s liberal path of development illustrating its injustice in several ways that will be detailed in this article under the heading “inhibitions of political economy” or Balkanism. The significance of the “Save Rosia Montana” movement for post-communism is that it invites post-communist subjects to reflect (...) and revise their perception about issues such as communism, capitalism and development and to raise questions of global significance about the fragile edifice of justice within the neo-liberal capitalist economy. However, r esistance to injustice (and implicitly affirmations of other senses of justice) is an ambiguous discursive practice through which Rosieni make sense as well as partake their sense of Rosia Montana. The movement brings about a public dispute which may be compared with a differend : (in Lyotard’s words), a conflict that cannot be confined to the rules of “cognitive phrases,” of truth and falsehood. This article argues that while post-communist events of “subjectification” are unstable and thus, are to be viewed aesthetically, this same ambiguous multiplication of political subjectivity may facilitate the creation of social spaces for imagining alternative possibilities of development. (shrink)