The success of the early music movement has long raised questions about performing historical works: Should musicians perform on period instruments and try to reconstruct the original style? If a historically “authentic” performance is impossible or undesirable, what should be the goal of the early music movement? I turn to Gadamer to answer these questions by constructing the outlines of a hermeneutics of early music performance. In the first half of the paper, (...) I examine Gadamer’s critique of historical reconstruction and argue that this critique sheds light on mistaken tendencies and misunderstandings within the early music movement, but it does not discredit the movement as such. In the second half of the paper, I attempt to show how Gadamer’s dialogical account of historical consciousness provides a framework for understanding what historically informed performance is seeking to accomplish, as well as its advantage over a Nietzschean approach. (shrink)

Wackenroder and the musical conception of early Romanticism.- The early romantic movement brings in a new general conception of art and the artist. Within this context, music is treated as a proper and independent form of art. This paper shows how a reflection on music is to be found expressed in the texts of Wackenroder, which is later to be carried on by other thinkers.

The most common approach in writings on music and Jugendstil has been to isolate several aspects of the visual art, either of technique or of subject matter, and to seek parallels in music of the fin de siècle. Historians of art and design seem to agree on at least three basic elements of Jugendstil: the primacy of the dynamic, flowing line; flatness or two dimensionality ; and the profuseness of ornament. All these features are neatly embodied in a (...) 1900 drawing by Theodor Heine , in which the ostensible subject matter, the dancing lady, is dissolved in the undulating linearity of her dress and the swirling smoke or incense. In this example, as in the celebrated "Cyclamen" tapestry by the Munich artist Hermann Obrist , line and ornament are largely liberated from their representational obligations and are manipulated in an almost abstract fashion. As Robert Schmutzler has remarked, the tapestry is "on the borderline dividing the symbol and the ornament, between abstract dynamism and the representation of a distinctive organism."4This aspect of Obrist's tapestry was realized as early as 1895 by the critic Georg Fuchs, who wrote in the journal Pan, "'These embroideries do not intend to "mean" anything, to say anything.'" Fuchs went on to describe the dynamic motion of the image in terms that have nothing to do with cyclamens per se: "'This racing movement seems like the abrupt, powerful convolution of the lash of a whip. One moment it appears as the image of a forceful outburst of natural elements; it is a lightning bolt. Another moment it resembles the defiant signature of a great man, a conqueror, an intellect who decrees new laws through new documents.''"5 Fuchs's metaphor of the whiplash or Peitschenhieb, has stuck; Obrist's tapestry is today known principally by that name.4. Robert Schmutzler, Art Nouveau , p. 193.5. Georg Fuchs, quoted in Peg Weiss, Kandinsky in Munich: The Formative Jugendstil Years , p. 33; hereafter abbreviated KM; translation modified. Walter Frisch is associate professor of music at Columbia University and author of Brahms and the Principle of Developing Variation . He is presently completing a book on the early tonal works of Arnold Schoenberg. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music Education for the New Millennium: Theory and Practice Futures for Music Teaching and LearningSean PenderelMusic Education for the New Millennium: Theory and Practice Futures for Music Teaching and Learning, edited by David K. Lines. Malden, MA: Blackwell Publishing, 2005, 150 pp., $34.95 paper.Music Education for the New Millennium is a 150-page collection of essays focused mainly upon philosophical introspection into the current condition (...) of the profession. Within this volume there are eight philosophic essays and one quantitative research article, by Alastair McPhee, Peter Stollery, and Ros McMillan. Other essays, beyond the work of the editor, were contributed by Thomas Regelski, Wayne Bowman, Robert Davis, Lucy Green, David Elliott, Constantijn Koopman, and Janet Mansfield. This collection contributes to our contemporary quandaries about aesthetics and praxialism in addition to adding pertinent questions for both philosophy and music education.The overall purpose of this volume is to stimulate thinking in ways not accounted for in the classroom or studio environments and expand upon the broader discourses impacting the profession and society (3). Given that Lines organized this volume as a collection about a specified theme, I will approach this review threefold. First, I will examine overall features that were promising and those that were disappointing. Second, each chapter's contributions will be examined in light of the aim of the volume. Lastly, each essay will also be examined for its contributions apart from the volume, due to the fact that all of the works can stand alone.Within this framework, six themes continually emerged throughout the essays. These themes involved the use and abuse of musical meaning; the construction of musical meaning and understanding; language used within advocacy; the difficulties presented by both aesthetics and praxialism; the problems posed by our focus upon psychology; and lastly, the "what works" mentality of efficient systems. These themes are incredibly relevant to the contemporary discussion surrounding music education in addition to benefiting the whole of the profession. In some fashion or another, each author confronts one to many of these issues efficiently and effectively, to the point that the volume and its aim is solidified within Bowman's essay, "Music Education in Nihilistic Times." As a negative point, however, an internal organization around these themes never seems to appear, and without this the volume lacks a certain flow; each chapter stands alone. Although internal organization is petty globally for this volume, it does affect its readability.Regelski's essay appears first and critiques both traditional aesthetics and praxial philosophy. Interestingly, he weighs the potential dangers posed by both and drifts toward the notion of praxis while maintaining a certain aesthetic influence within his philosophy. Through music education's abuse of aesthetics, Regelski chronicles the elevation of experience beyond societal values of participation, production, and the process of music creation. Due to this, the profession has been subject to a certain dependency upon the positive aesthetic experience rather than on the participatory process of education. Furthermore, he notes that aesthetics, when stretched to its philosophic extreme, has had a tendency to become exclusive and elitist. I liken [End Page 117] this to the Gnostic practices within early Christianity. This sect valued a spiritual/aesthetic experience and its resulting "enlightenment," which occurred during a state of ecstasy, to the point of elevating those who had experienced this moment beyond those who had not.To curb this movement, Regelski suggests redefining aesthetics in the tradition of Dewey and Wittgenstein rather than that of Kant. In the former, the aesthetics are tied directly to the using of the object, or the practice of doing and creating. In contrast, in the Kantian tradition, which has dominated music philosophy, the experience becomes removed from the practice and is elevated to a position of esteem, beyond that of understanding. Likewise, praxialism, when taken to its extreme, has the potential to suffer from breadth without depth, which may result in a loss of content and depth of understanding. Regelski suggests that what needs to occur is a balance of depth and breadth with a focus on the development of musicianship. If this occurs then the experience will become valued as a result of participation in the... (shrink)

Over the last dozen years, the writings of Richard Taruskin have transformed the debate about "early music" and "authenticity." Text and Act collects for the first time the most important of Taruskin's essays and reviews from this period, many of which now classics in the field. Taking a wide-ranging cultural view of the phenomenon, he shows that the movement, far from reviving ancient traditions, in fact represents the only truly modern style of performance being offered today. He (...) goes on to contend that the movement is therefore far more valuable and even authentic than the historical verisimilitude for which it ostensibly strives could ever be. These essays cast fresh light on many aspects of contemporary music-making and music-thinking, mixing lighthearted debunking with impassioned argumentation. Taruskin ranges from theoretical speculation to practical criticism, and covers a repertory spanning from Bach to Stravinsky. Including a newly written introduction, Text and Act collects the very best of one of our most incisive musical thinkers. (shrink)

Over the last dozen years, the writings of Richard Taruskin have transformed the debate about "early music" and "authenticity." Text and Act collects for the first time the most important of Taruskin's essays and reviews from this period, many of which now classics in the field. Taking a wide-ranging cultural view of the phenomenon, he shows that the movement, far from reviving ancient traditions, in fact represents the only truly modern style of performance being offered today. He (...) goes on to contend that the movement is therefore far more valuable and even authentic than the historical verisimilitude for which it ostensibly strives could ever be. These essays cast fresh light on many aspects of contemporary music-making and music-thinking, mixing lighthearted debunking with impassioned argumentation. Taruskin ranges from theoretical speculation to practical criticism, and covers a repertory spanning from Bach to Stravinsky. Including a newly written introduction, Text and Act collects the very best of one of our most incisive musical thinkers. (shrink)

The word “romanticism” designates in German as in other European languages a broad movement in literature that originated at the beginning of the nineteenth century and has often been characterized as an opposition to the preceding age of rationalism and Enlightenment. Situated between the classicist schools of taste of the previous century and the realistic and naturalistic trends in literature of the later nineteenth century, Romanticism or romantic literature is the product of the creative power of the imagination; it (...) appeals to the emotions, has a preference for the mysterious aspects of nature, and shows a strong predilection for the past, the Middle Ages, and mythological traditions. With its strong affinity to the novel, romantic literature departs from the classical forms and the classicist canon of literature, but when these classical forms were nevertheless used by the authors of this movement, something new was created – the romantic tale, the romantic drama, and romantic poetry. The great romantic authors in Germany were E. T. A. Hoffmann, Eichendorff, Brentano, Arnim, and Fouqué. There is both a narrower and a broader notion of Romanticism in Germany, the broader also relating to painting (Friedrich, Runge) and music (Schumann, Schubert, Mendelssohn, Bartholdy, Wagner). Romanticism had a great impact on the general view of the world and was influential in the rise of the historical consciousness, the revival of a religious spirit, and the emergence of a conservative political attitude. As far as philosophy and the sciences are concerned, Romanticism is associated with figures such as Schelling and Schopenhauer, the development of a philosophy of art, of nature, and of the subconscious. On the whole, Romanticism is one of those movements that shaped an entire age and manifested itself down to the most particular features of popular belief and scientific interest. (shrink)

Though Indian courts at present are riddled with issues concerning music on the copyright front, significance of another aspect of music based on its essence is largely lost and unexplored. Though courts refer to popular songs in judgments, they are few and far in between. The understanding is that law today is neither poetic nor musical. Music, however, expresses mankind’s faith, hope and aspiration. The use of popular music by Indian courts to write creatively, though not (...) necessarily improve the judgment is restricted and largely unexplored. This paper proposes to explore the dimensions of labour movement through music and the role of law in the making of India as a nation. The association of political dissent through music and the determination of the nation state to procure a stake in the management of the popular music that is sought to belong to itself will be the key theme for understanding the songs that make a nation. Beginning from the struggle for India’s independence to modern day labour movements using music for critique and promoting the vernacular culture are the essence of the paper. Historically, the role of music is central for workers in any labour movement worldwide and is now explored in the Indian context, beginning from the early years of struggle in the nineteenth century to the year of independence in 1947. Recent movements including the protests against profiteering and displacement of persons will also form part of the discussions in this paper. The roles of music and the law have periodically been addressed in the scholarly legal arena but the topic has seldom been explored in-depth from a labour perspective, as paper ventures to do. (shrink)

Roger Scruton's extraordinarily rich and impressive book The Aesthetics of Music has not received the attention it deserves. In this paper I take issue with one of its most striking claims, namely that the basic perceptions of music are informed by spatial concepts understood metaphorically. To evaluate this claim it is necessary to grasp Scruton's theory of metaphor, which has largely been neglected. I sketch his theory and derive from it the essence of his claim about the fundamental (...) role of spatial metaphors in musical experience. With the issue clarified in this way, I attempt to show that the claim is not plausible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:An Invitation to Play:A Response to Patrick Schmidt's "What We Hear is Meaning Too:Deconstruction, Dialogue, and Music"Patrice Madura Ward-SteinmanThe aims of dialogue-as-deconstruction, as described by Patrick Schmidt, are concepts I have pondered as a result of a five-week sabbatical visit to Melbourne, Australia. My research focus there was improvisation, and early in my visit I attended two concerts at the premier jazz club, Bennett's Lane. There I (...) heard twelve improvisers in a variety of ensembles, all in celebration of the seventieth birthday of their mentor, Tony Gould, who also performed. Gould is cited by John Whiteoak and Aline Scott-Maxwell as an "outstanding player who has never ceased to develop as an improviser" and who "as a pianist, records prolifically across a wide musical spectrum."1While the music was jazz, it was freer and fresher than usual. There was striking interaction among the musicians, including facial expressions that reflected genuine ecstasy, and body movement that was naturally "in sync" with the music. I began to ask many questions, including: Is Australia's jazz different from that [End Page 82] in the U.S.? Is Tony Gould's influence as a teacher the reason for the difference? What accounts for the sensation of "freshness" in this music? And why is this musical experience so gripping, both aurally and visually? Serendipitously, I discovered answers through the opportunity to respond to Schmidt's aims of dialogue-of-deconstruction. I shall illustrate how those aims, namely decentralized power and conflict, multiplicity and meaning, and mis-listening may be met in the improvising music ensemble.Decentralized Power and ConflictThe lifeblood of "free jazz" and "free improvisation" ensembles is de-centralized musical interaction, which may be considered a metaphor for dialogue-as-deconstruction. Case in point: the Tony Gould Quartet was an improvising unit with each musician contributing to the musical whole. The air was electric with each musician poised in both the anticipation of what the other might play and in the moment of creation.A recent trend in studies of organizational behavior is on "self-directed" or "self-managed" groups, as identified by Keith R. Sawyer.2 David Borgo3 explains that the characteristics of these "self-organizing systems" or "SOSs" are threefold: they operate without centralized control, they "exhibit both complex and adaptive dynamics," and they are comprised of autonomous individuals who demonstrate a high degree of connectivity. Both authors assert that an ideal SOS is the free improvising ensemble, where musical ideas are allowed to emerge and adapt, and even musical "mistakes" may be manipulated into the context, thus creating new directions in dialogue.However, SOSs have some inherent problems. For example, they are "slow to emerge.... The more complex they are, the longer it may take them to warm up: hierarchical layers have to settle down... and individual(s) have to acquaint themselves with one another."4 Borgo explained that even advanced improvisers often need to pursue a musical idea for a long while for it to achieve coherence. Philip Alperson adds: "As the number of designing intelligences increases, the greater is the difficulty in coordinating all the parts; the twin dangers of cacophony and opacity lurk around the corner."5It seems that "interactional synchrony"6 can develop among musicians who have "good chemistry" after a warm-up period, but those with conflicting personalities, aesthetic dispositions, or musical styles may have a more difficult time of it. When members of the Tony Gould Quartet were asked how they are able to achieve musical unity, they explained that they have played together for many years, they "hang out and drink together" when not on the bandstand, and they trust each other. Even when one of the members feels "out of sorts," their improvisations are respected as authentic expressions. Others' differences are honored, [End Page 83] rather than felt in opposition to one's self.7 Ingrid Monson8 quotes several musicians who use the metaphor of marriage to describe the musical relationship during a peak performance; on the other hand, jealousy, competition, and even hostility on the bandstand are not uncommon and can destroy an ensemble. So, it appears... (shrink)

Euro Women's Independent Label Distribution (WILD) was a pan-European network of feminist music distributors active in the early 1980s. They were affiliated to WILD, the US-based Women's Music distribution network founded in 1979 to disseminate the growing corpus of Women's Music emerging from the US Women's Liberation Movement (WLM). This article presents an interpretation of archive materials that document Euro WILD's activities from the Women's Revolutions Per Minute archive, housed at the Women's Art Library, London. (...) Constrained and enabled by the archive materials on offer, I revisit some of the practical and political problems the network faced as European distributors of US Women's Music. Key issues explored include the perception of US cultural imperialism by women based in Europe and the affective politics that circulated transnationally between distributors. Finally, this article explores how the concept and practice of the Women's Music industry changed when women beyond the borders of the US engaged with it. (shrink)

Malcolm Budd argues that spatial metaphors are not involved in the musical experience at the ‘foundational’ level, and that my attempt to show that the musical experience is dependent on spatial concepts is therefore unwarranted. The argument that Budd gives for this conclusion does not seem to me to achieve its purpose, and his alternative suggestion, that musical movement is ‘merely temporal’ does not, I argue, amount to a genuine alternative. He is right to worry about my account of (...) ‘double intentionality’, and about the relation between experience and concept. But these worries refer to general problems in the philosophy of mind and perception, and have no special bearing on the experience of music. (shrink)

Previous research with speech and non-speech stimuli suggested that in audiovisual perception, visual information starting prior to the onset of corresponding sound can provide visual cues, and form a prediction about the upcoming auditory sound. This prediction leads to audiovisual interaction. Auditory and visual perception interact and induce suppression and speeding up of the early auditory event-related potentials such as N1 and P2. To investigate AV interaction, previous research examined N1 and P2 amplitudes and latencies in response to audio (...) only, video only, audiovisual, and control stimuli, and compared AV with auditory perception based on four AV interaction models. The current study addresses how different models of AV interaction express N1 and P2 suppression in music perception. Furthermore, the current study took one step further and examined whether previous musical experience, which can potentially lead to higher N1 and P2 amplitudes in auditory perception, influenced AV interaction in different models. Musicians and non-musicians were presented the recordings of a keyboard /C4/ key being played, as well as CO stimuli. Results showed that AV interaction models differ in their expression of N1 and P2 amplitude and latency suppression. The calculation of model and has consequences for the resulting N1 and P2 difference waves. Furthermore, while musicians, compared to non-musicians, showed higher N1 amplitude in auditory perception, suppression of amplitudes and latencies for N1 and P2 was similar for the two groups across the AV models. Collectively, these results suggest that when visual cues from finger and hand movements predict the upcoming sound in AV music perception, suppression of early ERPs is similar for musicians and non-musicians. Notably, the calculation differences across models do not lead to the same pattern of results for N1 and P2, demonstrating that the four models are not interchangeable and are not directly comparable. (shrink)

Following an extended period of neglect, the early 1840s saw a dramatic revival of interest in English church music and its history, which coincided with the period of heightened religious sensitivity between the publication of Newman‘s Tract 90 in early 1841 and his conversion to Roman Catholicism in October 1845. This article examines the activities and writings of three men who made important contributions to the reformation of the music of the English church that took place (...) at this time: Rev. Frederick Oakeley; Rev. John Jebb and the painter William Dyce. It pays particular attention to the relationship between their beliefs about and attitudes towards the English Reformation and their musical activities, and argues that such important works as Jebb‘s monumental Choral Service of the United Church of England and Ireland are best understood in the context of the religious and ecclesiological debates that were raging at that time. (shrink)

This paper argues that contemporary analytic philosophy of music has characterized historically informed performance practice as compliance-focused, impersonal, and work-centered. The first part of the paper gathers evidence in support of this claim from the works of Julian Dodd, Peter Kivy, James O. Young, Aron Edidin, and Stephen Davies. In the second part of the paper, I reject this received view. Evidence from actual performance practice, as well as from the practitioners’ reflection on their activity, belies the received view (...) outlined in the first part of the paper. I conclude by drawing three methodological lessons from the oversights I attempt to rectify. (shrink)

Aristides Quintilianus' dates are not known, but he can hardly be earlier than the first century A.D. or later than the third. Several passages in the early pages of his de Musica1 purport to record facts about the practice of much older theorists, in contexts which make it clear that his references are to the period before Aristoxenus. Since our knowledge of music theory in that period is extremely sketchy, it is obviously worth trying to assess the reliability (...) of Aristides' information. Two of his references have often been recognized as being of special interest, and there is a third, to which, I shall argue, the other two are intimately related. The first records two systems of notation, alleged by Aristides to have been used by oί ρχαîoι. The second is the famous, or notorious, account of certain ‘divisions of the tetrachord’ which were employed by oί πνυαλαιότατoι πρς ρμoνίας. It is these, Aristides tells us, which are mentioned by Plato in the Republic.2 The remaining passage is superficially rather less exciting: it records the names and initial notes of the ρμoνίαι, or forms of octave scale, said to have been distinguished by oί παλαιoί, and says something about a method by which the πoιότης of each can be made clear. The information given here about the nature of the ρμoνίαι is familiar: it is to be found, for example, in Cleonides Eisagoge 19. 4 ff., where rather more detail is given, and where the names of the ρμoνίαι are again ascribed to oί ρχαîoι . I shall suggest, however, that Aristides' version has independent interest. What he tells us in the first two passages is found nowhere else. (shrink)

Aristides Quintilianus' dates are not known, but he can hardly be earlier than the first century A.D. or later than the third. Several passages in the early pages of his de Musica1 purport to record facts about the practice of much older theorists, in contexts which make it clear that his references are to the period before Aristoxenus. Since our knowledge of music theory in that period is extremely sketchy, it is obviously worth trying to assess the reliability (...) of Aristides' information. Two of his references have often been recognized as being of special interest, and there is a third, to which, I shall argue, the other two are intimately related. The first records two systems of notation, alleged by Aristides to have been used by oί ρχαîoι. The second is the famous, or notorious, account of certain ‘divisions of the tetrachord’ which were employed by oί πνυαλαιότατoι πρς ρμoνίας. It is these, Aristides tells us, which are mentioned by Plato in the Republic.2 The remaining passage is superficially rather less exciting: it records the names and initial notes of the ρμoνίαι, or forms of octave scale, said to have been distinguished by oί παλαιoί, and says something about a method by which the πoιότης of each can be made clear. The information given here about the nature of the ρμoνίαι is familiar: it is to be found, for example, in Cleonides Eisagoge 19. 4 ff., where rather more detail is given, and where the names of the ρμoνίαι are again ascribed to oί ρχαîoι. I shall suggest, however, that Aristides' version has independent interest. What he tells us in the first two passages is found nowhere else. (shrink)

Early Pentecostals came mostly from the ranks of the marginalised and disenfranchised, leading some researchers to describe the origin, attraction and expansion of Pentecostalism as some form of Social Deprivation theory. The article hypothesises that its origins among the marginalised rather demonstrate its hermeneutical concerns, especially in its identification with the portrayal of Jesus in the Gospels and specifically with Luke. The early Pentecostal hermeneutic is described in terms of its predilection for the marginalised, and some of the (...) most significant implications of such a hermeneutic for the contemporary movement that, to a large extent, lost its emphasis on the marginalised are portrayed. (shrink)

This book provides a collection of some 400 passages on music from early Christian literature - New Testament to c. 450 AD - newly translated from the original Greek, Latin, and Syriac. As there are no musical sources of the period, music historians must rely upon remarks about music in literary sources to gain some knowledge of early Christian liturgical music. This volume makes a large and representative collection of the material conveniently available. The (...) passages are arranged chronologically and regionally in eleven chapters with brief commentary. An introduction sets out the major subjects and themes of the original source material. (shrink)

This is an abridged, paperback edition of Peter le Huray and James Day's invaluable anthology of writings concerned with the role of music in eighteenth- and early-nineteenth-century aesthetics. This volume retains all the most important and significant items from the original hardcover edition. Over fifty writers are represented here, including such major figures as Rousseau, Kant, Schlegel, Schopenhauer and Hegel, and the useful introductions and biographical details of the original are also retained. The aesthetic literature of the period (...) is profuse but this carefully edited volume offers a balanced selection which illuminates the ways people experienced music and how they came to an understanding in particular of the new music of their day. (shrink)

The ArgumentIn most historical accounts, eugenic doctrines and Christian beliefs are assumed to be adversaries. Such a perspective is too narrow, however, for while many prominent eugenicists were indeed religious skeptics, others sought to reconcile eugenics with Christianity. Various American Protestant social reformers tried to synthesize new biological theories with older biblical ideas about the meaning of a good inheritance. Such syntheses played an important role in disseminating eugenic doctrines into America's deeply Protestant heartland.

Quarantine and spatial distancing measures associated with COVID-19 resulted in substantial changes to individuals’ everyday lives. Prominent among these lifestyle changes was the way in which people interacted with media—including music listening. In this repeated assessment study, we assessed Australian university students’ media use throughout early stages of the COVID-19 pandemic in Australia, and determined whether media use was related to changes in life satisfaction. Participants were asked to complete six online questionnaires, capturing pre- and during-pandemic experiences. The (...) results indicated that media use varied substantially throughout the study period, and at the within-person level, life satisfaction was positively associated with music listening and negatively associated with watching TV/videos/movies. The findings highlight the potential benefits of music listening during COVID-19 and other periods of social isolation. (shrink)

Virtuosity in music performance is often associated with fast, precise, and efficient sound-producing movements. The generation of such highly skilled movements involves complex joint and muscle control by the central nervous system, and depends on the ability to anticipate, segment, and coarticulate motor elements, all within the biomechanical constraints of the human body. When successful, such motor skill should lead to what we characterize as fluency in musical performance. Detecting typical features of fluency could be very useful for technology-enhanced (...) learning systems, assisting and supporting students during their individual practice sessions by giving feedback and helping them to adopt sustainable movement patterns. In this study, we propose to assess fluency in musical performance as the ability to smoothly and efficiently coordinate while accurately performing slow, transitionary, and rapid movements. To this end, the movements of three cello players and three drummers at different levels of skill were recorded with an optical motion capture system, while a wireless electromyogrphy (EMG) system recorded the corresponding muscle activity from relevant landmarks. We analyze the kinematic and coarticulation characteristics of these recordings separately and then propose a combined model of fluency in musical performance predicting music sophistication. Results suggest movements from expert performers' are characterized by consistently smooth strokes and scaling of muscle phasic coactivation. The explored model of fluency as function of movement smoothness and coarticulation patterns was shown to be limited by the sample size but serves as a proof of concept. Results from this study show the potential of a technology-enhanced objective measure of fluency in musical performance, which could lead to improved practices for aspiring musicians, instructors, and researchers. (shrink)

Music theorists of almost all ages employ a concept of "Nature" to justify observations or statements about music. The understanding of what "Nature" is, however, is subject to cultural and historical differences. In tracing these explanatory strategies and their changes in music theories between c. 1600 and 1900, these essays explore (for the first time in a book-length study) how the multifarious conceptions of nature, located variously between scientific reason and divine power, are brought to bear on (...) music theory and how they affect our understanding of music. (shrink)

A pianist’s movements are fundamental to music-making by producing the musical sounds and the expressive movements of the trunk and arms which communicate the music’s structural and emotional information making it valuable for this review to examine upper-body movement in the performance process in combination with the factors important in skill acquisition. The underpinning playing technique must be efficient with economic muscle use by using body segments according to their design and movement potential with the arm (...) segments mechanically linked to produce coordinated and fluent movement. Two physiologically and pianistically important actions proposed by early music scientists to deliver the keystroke involve dropping the hand from the shoulders towards the keys via a wave action with the joints activated sequentially, and forearm rotation to position the fingers for the keystroke, an action followed by the elbow/upper-arm rotating in the opposite direction. Both actions spare the forearm muscles by generating the energy needed in the larger shoulder muscles. The hand in the playing position has a curved palm through action of the metacarpal (knuckle) joints and curved fingers. Palm/finger posture controls sound quality from loud, high tempo sounds to a more mellow legato articulation, and to perform effectively the forearms should slope down towards the keyboard. The technique must be automatic through systematic practice which develops the motor skills for proficient playing, with practice duration tempered to reduce the risk of causing injury through overuse of the forearm muscles. Efficient movement patterns and strategic muscle relaxation which results in faster movement are realized only through extensive training. The constant movements of the head and trunk, and flowing arm movement with frequent hand lifts and rotational elbow movements, although generated in producing the playing technique, resonate with audience members who perceive them as expressive and thereby creating in them an empathic engagement with the music. It was proposed that music students be trained in the mechanical aspects of upper-body use in the playing technique, and practice strategies, with specialist pedagogy for children to develop motor skills for efficient playing, and training methods fostering an appreciation of the communicative aspects of music performance. (shrink)

Music in the Flesh reimagines the lived experiences of music-making subjects (composers, musicians, listeners) in the long European seventeenth century. There are countless historical testimonies of the powerful effects of music upon early-modern bodies, described as moving, ravishing, painful, dangerous, curative, miraculous, and encompassing "the circulation of the humors, purification of the blood, dilation of the vessels and pores. In asking what this all meant at the time, the author considers musical scores and their surrounding texts (...) as "somatic scripts" that afford a range of somatic actions and reactions and can give us a glimpse into the historical embodied experience of organized sound. Starting from the Lutheran hymns and their accompanying intellectual traditions and ritual practices in German-speaking lands, the book moves with ease across repertories and regions, sacred and vernacular musics, domestic and public settings in order to sketch a "physiology of music" that is as historically illuminating as it is relevant for present-day performing practices and that sheds unprecedented light on how subjectivity was embodied through sound in early-modern Europe. (shrink)

Schooling fish, swarms of starlings, plodding wildebeest, and musicians all display impressive synchronization. To what extent do they use acoustic cues to achieve these feats? Could the acoustic cues used in movement synchronization be relevant to the treatment of movement disorders such as Parkinson's disease in humans? In this article, we build on the emerging view in evolutionary biology that the ability to synchronize movement evolved long before language, in part due to acoustic advantages. We use this (...) insight to explore potential mechanisms that explain why music therapy has beneficial effects for PD patients. We hypothesize that rhythmic auditory cues, particularly music, can stimulate neuronal and behavioral processes that ease the symptoms and potentially the causes of PD because the neural circuits used in auditory entrainment at individual and group levels are associated with dopamine production. We summarize current treatment of PD and outline how new insights from an evolutionary perspective could improve understanding and eventual treatment of movement disorders in humans. (shrink)

The Venetian state has aptly been called a work of art. So absolute and necessary appear its fictions that continuity and tradition are always in the foreground, while change recedes to the distant horizon. It is this quality of timeless truth that characterizes the “myth of Venice”: Venice remains perfect and unchanged while other governments rise and fall. It remains unchanged because of two things: the “perfect” system of government, combining the best features of monarchy, oligarchy, and democracy; and the (...) reliance on impartial justice, the key to preserving harmony between conflicting groups. (shrink)

In this paper I shall attempt to give an enactive account of the dynamic qualities of music. Starting from Krueger’s account of musical experience, I will highlight how music’s qualities of movement are constituted in the horizon of an embodied consciousness – that is, an embodied subject who can virtually or actually bodily entrain with music and then follow the musical profile. I will argue that the common rythmòs-structure of both music and movement makes (...) such an enactive constitution possible. In this sense, the perception of music’s rythmòs – that is, the perception of its teleological tendency – will turn out to be the condition of possibility for the enaction of music dynamic qualities. But if so, music’s quality of being teleologically-structured will remain unexplained by the discussed enactive account and will need another description of how it is constituted in the horizon of consciousness. (shrink)

Theorists of affect and radical democracy have largely overlooked the importance of intentionally cultivating affective dynamics in the process of changing institutions. We address that lack by introducing the concept of musical groove as an intercorporeal feel for improvisational co-creation. Groove in a political context involves specific practices of modulating dynamics, receptivity, and affects in relationship to specific contexts, people, and practices to powerful effect. We explore how early democratic movements during the American Revolution sought to craft institutional forms (...) capacious enough for such democratic groove despite the fact that key intellectual leaders of the time, such as the Federalists and Benjamin Rush, feared the power of intercorporeal affective flows of democratic enthusiasm and popular improvisation. We read Rush’s critique and his efforts to diminish and control these emergences by harmonizing them in the order as a “negative image” of a radical democratic alternative that would foster improvisation and build enthusiasm for catalysing change today. We discuss how improvisation can, as Pierre Bourdieu perceived, simply function to reproduce the limits of a given socio-political game, which is deeply embedded within us as a “feel for the game” or set of affective dispositions. However, we turn Bourdieu’s own critique against itself to find openings for a habitus of political groove and democratic improvisation that he considered foreclosed. We conclude by fleshing out these insights in relation to affective dynamics among political organizing practices and modest institutional changes during a period of rich local transformation in which we participated in Durham, North Carolina. (shrink)

"This paper investigates musical relationships in the case of the early mother-infant dyadic interactions. To accomplish this task, it is first needed to come back to some important authors from the tradition of both phenomenology and psychoanalysis. The theories of Husserl, Schutz and Taipale will prove themselves to be useful. Secondly, I shall deepen the investigation of the early mother-infant interactions through the prism of theories coming from Winnicott, Stern and Thomas Fuchs. My main task will be to (...) demonstrate that these early interactions have a musical quality, similar to Colwyn Trevarthen’s thematization of communicative musicality. To prove my point, I have to first establish the features that make these early interactions be musical-like. Winnicott’s potential space and the example of babbling will follow my argumentation. I will also stress on the importance of the face-to-face interaction through affect attunement and mutual tuning-in. All these interactions are modes of being-with-another (Stern). An example will be found throughout this paper, namely a specific mode of being-with-another, which was called by Winnicott the primary maternal preoccupation. Keywords: musical relationships, babbling, potential space, face-to-face interaction, mutual tuning-in, affect attunement, primary maternal preoccupation, synchronization, rhythm, being-with. ". (shrink)