Recent studies in music education have investigated the ways in which different groups construe music and music education, and the ways in which these constructions are culturally bound. A Cultural Psychology of Music Education explores the ways in which the discipline of cultural psychology can contribute to our understanding of how music learning and development occurs in a range of cultural settings, and the subsequent implications of such understanding for the theory and practice (...) of music education. The book opens with an overview of the theoretical underpinnings of a cultural psychology of music education. Ten eminent music education scholars and researchers provide chapters that illustrate the application of this approach to key issues in music education; its theory and practice. These chapters provide opportunities to look more deeply into the practices of music education in order to understand the role culture plays in shaping children's musical learning and thinking, the learning and teaching of music teachers, the formal and informal institutions and structures within and through which learning and teaching occur, and, the intersection of these processes and structures in the development of musical thought and practice. As the first major publication to explore a cultural psychology of music education, this volume signals new directions for the study of music educational theory and practice, and the continuing transformation of the discipline. It draws together a number of music education researchers working within a cultural psychology framework establishing a basic reference in this developing field. A fascinating subject, this volume will be of interest to music educators, students and researchers of music education, and music psychologists. (shrink)

Evolutionary psychology often does not sufficiently document the innate constraint and domain specificity required for strong adaptationist argument. We develop these criteria within the domain of music. First, we advocate combining computational, developmental, cross-cultural, and neuroscience research to address the ways in which a domain is innately constrained. Candidate constraints in music include the importance of the octave and other simple pitch ratios, the categorization of the octave into tones, the importance of melodic contour, tonal hierarchies, and (...) principles of grouping and meter. Second, we advocate combining psychological, neuroscience, and genetic research across cognitive domains to address the domain specificity of such constraints. Currently available evidence suggests that the innate constraints in music are not specific to that domain, making it unclear which domain(s) provided the relevant selection pressures. (shrink)

In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted (...) to go about the practical task of actually increasing our level of wellbeing, we ought to do so by focusing on practically increasing the levels of the five factors that are characteristic of wellbeing. If, for instance, an activity such as musical engagement can be shown to positively influence each or all of these five factors, this would be compelling evidence that an activity such as musical engagement can positively contribute to one’s living a flourishing life. I’m of the belief that psychological research can and should be used, not only to identify and diagnose maladaptive psychological states, but identify and promote adaptive psychological states as well. In this article I advance the hypothesis and provide supporting evidence for the claim that musical engagement can positively contribute to one’s living a flourishing life. Since there has not yet been a substantive and up-to-date investigation of the possible role of music in contributing to one’s living a flourishing life, the purpose of this article is to conduct this investigation, thereby bridging the gap and stimulating discussion between the psychology of music and the psychology of wellbeing. (shrink)

In recent years, there has been a growing interest in scholars and practitioners to explore the factors that lead to an improvement in Students’ psychological wellbeing. Due to the tough challenges faced by students during their academic life, severe issues of stress, anxiety, and other mental health issues emerge, which affect their academic performance and have a long-lasting impact on their future careers. The pandemic accelerates the stress levels, anxiety, and mental issues of students. The main purpose of this study (...) was to explore how music education impacts on Students’ psychological wellbeing and academic performance. This study also investigates the mediating effect of self-esteem and self-efficacy. To the best of our knowledge, there has been little to no study exploring the relationship of music education on the psychological wellbeing and performance of students, especially from the perspective of Asian countries. This study was conducted in undergraduate and graduate institutions of China. This study was quantitative in nature and data were collected from 319 respondents. The structural equation modeling technique was employed for data analysis. Results reveal that music education has a significant positive impact on psychological wellbeing, which improves Students’ academic performance. Moreover, psychological wellbeing also has a significant and positive impact on Students’ academic performance. Self-efficacy and self-esteem significantly mediate the relationship between music education and psychological wellbeing. The findings of this study open new avenues for future research in music education and psychological wellbeing. This study suggests that the policymakers and practitioners should make such policies that encourage educational institutes to adopt music education to improve the psychological wellbeing of students. (shrink)

This book presents a detailed analysis of what it means to be absorbed in playing music. Based on interviews with one of the world’s leading classical ensembles, “The Danish String Quartet”, it debunks the myth that experts cannot reflect while performing, but also shows that intense absorption is not something that can be achieved through will, intention, prediction or planning – it remains something individuals have to be receptive to. Based in the phenomenological tradition of Husserl and Merleau-Ponty as (...) well as of Dan Zahavi and Shaun Gallagher, it lays out the conditions and essential structures of musical absorption. Employing the lived experience of the DSQ members, it also engages and challenges core ideas in phenomenology, philosophy of mind, enactivism, expertise studies, musical psychology, flow theory, aesthetics, dream and sleep studies, psychopathology and social ontology, and proposes a method that integrates phenomenology and cognitive science. (shrink)

In Flourish, the positive psychologist Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or well-being: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted to (...) go about the practical task of actually increasing our level of well-being, we ought to do so by focusing on practically increasing the levels of the five factors that are characteristic of well-being. If, for instance, an activity such as musical engagement can be shown to positively influence each or all of these five factors, this would be compelling evidence that an activity such as musical engagement can positively contribute to one’s living a flourishing life. I am of the belief that psychological research can and should be used, not only to identify and diagnose maladaptive psychological states, but identify and promote adaptive psychological states as well. In this article I advance the hypothesis and provide supporting evidence for the claim that musical engagement can positively contribute to one’s living a flourishing life. Since there has not yet been a substantive and up-to-date investigation of the possible role of music in contributing to one’s living a flourishing life, the purpose of this article is to conduct this investigation, thereby bridging the gap and stimulating discussion between the psychology of music and the psychology of well-being. (shrink)

The Oxford Handbook of Music Psychology is the definitive, comprehensive, and authoritative text on this burgeoning field. With contributions from over fifty experts in the field, the range and depth of coverage is unequalled. It will be an essential resource for students and researchers in psychology.

Music comprises a diverse category of cognitive phenomena that likely represent both the effects of psychological adaptations that are specific to music (e.g., rhythmic entrainment) and the effects of adaptations for non-musical functions (e.g., auditory scene analysis). How did music evolve? Here, we show that prevailing views on the evolution of music – that music is a byproduct of other evolved faculties, evolved for social bonding, or evolved to signal mate quality – are incomplete or (...) wrong. We argue instead that music evolved as a credible signal in at least two contexts: coalitional interactions and infant care. Specifically, we propose that (1) the production and reception of coordinated, entrained rhythmic displays is a co-evolved system for credibly signaling coalition strength, size, and coordination ability; and (2) the production and reception of infant-directed song is a co-evolved system for credibly signaling parental attention to secondarily altricial infants. These proposals, supported by interdisciplinary evidence, suggest that basic features of music, such as melody and rhythm, result from adaptations in the proper domain of human music. The adaptations provide a foundation for the cultural evolution of music in its actual domain, yielding the diversity of musical forms and musical behaviors found worldwide. (shrink)

The 2nd edition of the Oxford Handbook of Music Psychology updates the original landmark text which provided a comprehensive review of the latest developments in this fast growing area of research. The 2nd edition has 55 chapters divided into 11 parts covering both experimental and theoretical perspectives each edited by an internationally recognised authority in the area.

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

An impressive variety of theories of ontology of musical works has been offered in the last fifty years. Recently, the ontologists have been paying more attention to methodological issues, in particular, the problem of determining criteria of a good theory. Although different methodological approaches involve different views on the importance and exact role of intuitiveness of a theory, most philosophers writing on the ontology of music agree that intuitiveness and compliance with musical practice play an important part when judging (...) theories. A multitude of diverse claims exist regarding folk intuitions and matters of musical practice in the literature on the ontology of musical works. In this review paper, a systematized collection of about one hundred empirical claims extracted from the theoretical literature is presented. All of the empirical claims are categorized thematically. The paper also includes a short discussion on the role of appeals to common intuitions in methodological literature, as well as some suggestions for future research. (shrink)

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

Ranging from Antiquity to contemporary analytic philosophy, this book provides a concise but thorough analysis of the arguments developed by some of the most outstanding philosophers of all times. Besides the aesthetics of music proper, the volume touches upon metaphysics, ethics, philosophy of language, psychology, anthropology, and scientific developments that have influenced the philosophical explanations of music. Starting from the very origins of philosophy in Western thought (Pythagoras, Plato, Aristotle) the book talks about what music is (...) according to Augustine, Descartes, Leibniz, Rousseau, Kant, Hegel, the Romantics, Schopenhauer, Nietzsche, Wittgenstein, Susanne Langer, Bloch, Adorno, and many others. Recent developments within the analytic tradition are illustrated with particular attention to the ontology of the musical artwork and to the problem of music and emotions. (shrink)

The dawn of music semiology showcases the work of ten leading musicologists inspired by the work of Jean-Jacques Nattiez. Reflecting the energy and diversity of the young field of music semiology, chapters in this volume discuss music and gesture, the psychology of music, and the role of ethnotheory, and offer new research on topics as diverse as modeling folk polyphony, spatialization in the Darmstadt repertoire, Schenker's theory of musical content, and modernism from Wagner to Boulez.

Western music is characterized primarily by simple meters, but a number of other musical cultures, including Turkish, have both simple and complex meters. In Experiment 1, Turkish and American adults with and without musical training were asked to detect metrical changes in Turkish music with simple and complex meter. Musicians performed significantly better than nonmusicians, and performance was significantly better on simple meter than on complex meter, but Turkish listeners performed no differently than American listeners. In Experiment 2, (...) members of Turkish classical and folk music clubs who were tested on the same materials exhibited comparable sensitivity to simple and complex meters, unlike the American and Turkish listeners in Experiment 1. Together, the findings reveal important effects of musical training and culture on meter perception: trained musicians are generally more sensitive than nonmusicians, regardless of metrical complexity, but sensitivity to complex meter requires sufficient exposure to musical genres featuring such meters. (shrink)

The Oxford Handbook of Music Psychology is the definitive, comprehensive, and authoritative text on this burgeoning field. With contributions from over fifty experts in the field, the range and depth of coverage is unequalled. It will be an essential resource for students and researchers in psychology.

The effect of music in Greek and Latin literature -- The impact and value of music according to ancient theorists -- The value of music in systematic analysis : philosophical and psychological considerations.

The research expects to explore the psychological mobilization of innovative teaching methods of Music Majors under the new curriculum reform. The relevant theories of college students’ innovative teaching methods are analyzed under deep learning together with the innovation and construction of music courses. Thereupon, college students’ psychological mobilization is studied. Firstly, the relationship between innovation and entrepreneurship teaching and deep learning is obtained through a literature review. Secondly, the music classroom model is designed based on the deep (...) learning theory, and the four dimensions of the music curriculum are defined to innovate and optimize the music teaching model. Finally, the Questionnaire Survey is used to analyze the design classroom model. Only 15% of the 180 respondents understand the concept of deep learning, 32% like interactive music learning, and 36% like competitive comparative music classroom learning. And the students who study instrumental music have higher significant differences in learning motivation than those who study vocal music. In addition to classroom learning, 16% of people improve their music skills through music equipment. College students like interactive music classes and competitive comparison classes that can give more play to their subjective initiative. After the new curriculum reform, the music curriculum based on deep learning can stimulate students’ interest in learning and participate in the mobilization of students’ learning psychology. Therefore, in the future of music education and teaching, there is a need to pay more attention to students’ psychological status. The research results can provide references and practical significance for the innovative teaching activities of music classrooms after the new curriculum reform. (shrink)

This paper describes how music fulfills two of its broadly recognized functions—“mood regulation” and “social cohesion”—in times of pandemics and social isolation. Through a trans-historical comparison of the musical activities of the Milanese during an outbreak of plague in 1576 with the musical activities observed during the COVID lockdowns in 2020, this paper suggests a framework for understanding the role of music in the care of the biological body and the social body in times of medical disaster.

In his article “The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types,” Nemesio Puy raises a hypothesis that continuity of the purpose is both a necessary and a sufficient condition for musical work’s identity. Puy’s hypothesis is relevant to two topics in cognitive psychology and experimental philosophy. The first topic is the prevalence of teleological reasoning about various objects and its influence on persistence and categorization judgments. The second one is the importance of an artist’s intention in (...) the categorization of artworks. We tested the teleological hypothesis across three studies. Vignettes in these three studies describe a musical work being changed in some of these aspects: purpose either changed or retained; score either changed or retained; change is made either by the same or a different composer. The results suggest that teleological considerations impact judgments on the persistence of musical works, but this impact appears to be relatively weak. The results also suggest that persistence judgments strongly depend on whether acoustical properties were changed, while whether the change was made by the original composer seems to be relatively unimportant. (shrink)

The dissertation discusses the relationship between two approaches to researching music: the empirical approach of experimental psychology and cognitive neuroscience, and the speculative approach of philosophical aesthetics of music. The aim of the dissertation is to determine the relationship between problems, conceptual frameworks, and domains of inquiry of the two approaches. The dissertation should answer whether the philosophical and the empirical approach deal with the same, or at least relatable aspects of music. In particular, it should (...) answer whether the results of the empirical research contribute to the debates of philosophical aesthetics of music. Each of the three chapters of the dissertation deals with one particular problem in philosophy of music: meaning in music, value of music, and the relationship between music and the emotions. For each particular philosophical problem discussed in these chapters, it is demonstrated that the experimental results provide interesting insights for philosophy of music. It is concluded in the dissertation that philosophers can benefit from examining experimental studies, not only regarding the particular aesthetic theories, but also in regard to the methodological consideration, since the dissertation shows that this kind of interdisciplinary approach uncovers methods useful to philosophers, not commonly available to the armchair philosophical approach. (shrink)

Music offers a unique opportunity to better understand the organization of the human brain. Like language, music exists in all human societies. Like language, music is a complex, rule-governed activity that seems specific to humans, and associated with a specific brain architecture. Yet unlike most other high-level functions of the human brain - and unlike language - music is a skill at which only a minority of people become proficient. The study of music as a (...) major brain function has for some time been relatively neglected. Just recently, however, we have witnessed an explosion in research activities on music perception and performance and their correlates in the human brain. This volume brings together an outstanding collection of international authorities - from the fields of music, neuroscience, psychology, and neurology - to describe the amazing advances being made in understanding the complex relationship between music and the brain. Aimed at psychologists and neuroscientists, this is a book that will lay the foundations for a cognitive neuroscience of music. (shrink)

Music education is one of human kind most universal forms of expression and communication, and it can be found in the daily lives of people of all ages and cultures all over the world. As university life is a time when students are exposed to a great deal of stress, it can have a negative impact on their mental health. Therefore, it is critical to intervene at this stage in their life so that they are prepared to deal with (...) the pressures they will face in the future. The aim of this study was to see how music education affects university students’ mental health, with emotional intelligence functioning as a moderator. The participants in this research were graduate students pursuing degrees in music education. Non probability convenience sampling technique was used to collect and evaluate the data from 265 students studying in different public and private Chinese universities. The data was gathered at a time, and therefore, the study is cross-sectional. The data was collected from January 2022 till the end of March 2022. Many universities have been closed because to COVID-19, therefore data was also gathered online through emails. The data was analyzed quantitatively using the partial least squares –structural equation modeling technique. The findings backed up the hypotheses. The results revealed that there is a significant effect of music education on student’s mental health. Also, emotional intelligence as a moderator significantly and positively moderates the relationship between music education and students’ mental health. Music has numerous physiological aspects, and listening to it on a daily basis may be beneficial to your general health and well-being. Furthermore, musicians and music students with a high level of emotional intelligence have a better chance of not just performing well in school, college and university or in the music industry, but also of maintaining mental health and improving it. (shrink)

The psychology of aesthetics and the arts is dedicated to the study of our experiences of the visual arts, music, literature, film, performances, architecture and design; our experiences of beauty and ugliness; our preferences and dislikes; and our everyday perceptions of things in our world. The Cambridge Handbook of the Psychology of Aesthetics and the Arts is a foundational volume presenting an overview of the key concepts and theories of the discipline where readers can learn about the (...) questions that are being asked and become acquainted with the perspectives and methodologies used to address them. The psychology of aesthetics and the arts is one of the oldest areas of psychology but it is also one of the fastest growing and most exciting areas. This is a comprehensive and authoritative handbook featuring essays from some of the most respected scholars in the field. (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)

Music expertise is known to be beneficial for cognitive function and development. In this study, we conducted 1-year music training for school children in China. The children were assigned to music or second-language after-class training groups. A passive control group was included. We aimed to investigate whether music training could facilitate working memory development compared to second-language training and no training. Before and after the training, auditory WM was measured via a digit span task, together with (...) the vocabulary and block tests of the Wechsler Intelligence Scale for Child IV. The results of the DS task revealed superior development in the music group compared to the other groups. However, further analysis of DS forward and backward tasks indicated that the performance of the three training/non-training groups only differed significantly in DS backward scores, but not in the DS forward scores. We conclude that music training may benefit the central executive system of WM, as reflected by the DS backward task. (shrink)

The question of meaning in music has been discussed by numerous philosophers of music. On one end of the philosophical spectrum, the meaning in music is understood as “specifically musical” meaning, i.e. the meaning exhausted by the musical ideas. The other end of the spectrum is occupied by the view that the meaning in music is emotional, consisting of the ex-pression or representation of emotions by music, i.e. that the meaning in music is emotional (...) meaning. The paper will demonstrate that the results of psychological research support a more complex view, which ac-knowledges different types of meaning. The main aim of the paper is to examine the contribution of experimental psychological research for the philosophical debates on musical meaning. Certain studies of behavioral and neurological reactions to musical stimuli have revealed interesting relationships between the processing of syntax, semantics, and emotion in mu-sic. After presenting three main philosophical views on musical meaning, the paper discusses the results and implications of three experimental psychological studies, and their relevance for the philosophical views. It is argued in the paper that the experimental results enrich the classical philosophical debate on meaning in music. The original contribution of the paper con-sists in suggesting a way to connect the philosophical debates on musical meaning with the experimental psychological research. The implications of the paper will reveal higher complexity of the issue of musical meaning than is implicitly supposed in the theoretical debates. The second important implication is the suggestion of a way in which philosophical questions concerning music can be approached with the help of experimental psychology in future research. (shrink)

Roger Scruton’s ontology of sound is found wanting on two counts. Scruton removes from music the importance of the performer’s manipulating of his instrument. This misconceives the phenomenology of hearing and, as a consequence, impoverishes our understanding of music. I argue that the musician’s manipulations can be heard in the music; and, in a discussion of notions developed by Richard Wollheim and Jerrold Levinson, that these manipulations have psychological reality, and that it is this psychological reality which (...) brings to life the sui generis musical persona of musical expressiveness. (shrink)

Throughout the 20th century, the theory and history of performing arts repeatedly attempted to systematize various phenomena in the field of interpretation of works of academic music. The number of performing styles and types in various researches has risen dramatically, until the beginning of this century when it was reduced to a single concept - to the category of an individual style. This topic was discussed mainly in research papers devoted to the theory of pianism. The results of their (...) observations and conclusions can be applied to the performing arts in general. The article mentions the works of K.A. Martinsen, D.A. Rabinovich, V.P. Chinaeva, A.V. Malinkovskaya and others. The topic of musical perception is addressed both in musicology and in musical psychology. This research offers a new vector for studying of musical perception, linking the features of musical imagery created by the performer and the nature of perception. The following aspects are revelated: patterns that allow us to talk about the types of musical image, the principles of its construction and the types of perception. This is an affective image created on the principle of contrast. It corresponds to the psychophysical type of perception. The contextual image is guided by the principle of connections. It corresponds to the aesthetic type of perception. The integrative image is formed, focusing on the principle of the whole. It corresponds to the symbolic type of perception. A hermetic system of typology is considered to be impossible; artistic practice will largely oppose it. However, these tendencies are able to shed light on the nature of musical perception and allow to continue the scientific discussion of the current topic of musical performance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Standards of Music Education and the Easily Administered Child/Citizen: The Alchemy of Pedagogy and Social Inclusion/Exclusion Thomas S. Popkewitz and Ruth Gustafson University of Wisconsin-Madison Educational standards are forsome a corrective device to promote the twin goals of excellence and equity by making explicit the performance outcomes ofschooling. For others, performance standards do not do what they say and install the wrong goals for teaching. But various sides (...) in the debate assume that school subjects teach the subjects and what is needed are more effective and efficient classroom practices. Our approach is different. We consider the standards of school subjects as related to the conditions of state governing. School subjects inscribe principles that administer the conduct ofthe child who is to grow into the "reasonable citizen." The Standards Movement is more than what is publicly discussed. Pedagogy embodies particular ways ofthinking or a system ofreason in which pedagogy orders who we are, who we should become, and who are not qualifiedto become that "we." If we think of modern schooling as an inscription device in the fonning of the citizen through the development ofthe child, the crux of the debate is not whether to have standards. It is how particular standards are inscribed through pedagogicalpractices. Ifwe treat school subjects as analogous to a uniform system of taxes, the developmentofuniformmeasurements, andurban planning in the modem state, our concern is with the boundaries created about the rules and standards of reason and the reasonable person. Pedagogygoverns inadoublesense: schoolmusic embodies representations that constitute the objects that children act on as real, and it generates principles to orderand patrol the borders that qualify and disqualify individuals for participation. The standards that govern music education can be thought about as an alchemy.1 The field of music is transported and translated into school subjects andpedagogical content. As the sorcerer ofthe middle ages sought to turn lead into gold, a specializedpedagogyplaces children in a new set ofrelations that is no longerthe academic field of music. Why is the alchemy important? First, the alchemy ofschool subjects is a particular system of reason that fabricates the kinds of people administered in schooling. Second, the alchemy reconfigures the sensitivities and awarenesses of the field of music to make the child's "soul" the site of administration. That soul in music and other school subjects is talked about today as personaldevelopment, self-reflection,personality, and character. Third, school subjects are sites in which the relations between the state, society, community, and individuality are worked and reworked to produce the borders ofinclusion and exclusion. The first section of this paper considers school subjects as a practice of governing that administersprinciples (orstandards ifwecanplay with that word) about who we are and should be. The second section considers psychology as the translation device that transports academic disciplines into school subjects. It may seem odd at firstglancebutthesamepsychologicaltransportation systems exist across school subjects. The historical intervention of the transportation system, we argue in the third section, has little to do with understanding music or science, but with governing the soul. In that section we examine the different cultural practices that overlap to©Philosophy ofMusic Education Review 10, no. 2 (Fall, 2002): 80-91. Thomas S. Popkewitz/Ruth Gustafson 81 generate principles that orderthe nature ofmusic, the child/childhood, teaching, and reflection and subjectivity in music education. The discussion is not about the internal structure or the goodness ofmusic education but the particular frames of reference that form the evidence and possibilities of reform in school subjects. We take up the task ofinquiry into the alchemy of music as part of a broader project to show the contingency ofthe arrangement that we live by showing how thought has played a part in holding those arrangements together and to contestthe strategiesthatgovernthehumanpossibilities. The Art ofGoverning: Standards as Mapping Who We are/to Become Themodern state governs through developing a precise system of classifications and the correct sorting devices to chart a course ofaction that will change society for the better and which will prevent any futurejoining ofthe ranks ofthe poorly performing. To govern is to develop systems ofclassification that calculate and make legiblepeople fortheadministrationofthe society and the citizen. Mass schooling is a central institution in... (shrink)

Traditional views concerning musical meaning, in the field of philosophy, quite often oscillate around the discussion of whether music can transfer meaning (and if so if it happens by a means similar to language). Philosophers have provided a wide range of views – according to some, music has no meaning whatsoever, or if there is any meaning involved, it is only of a formal/structural significance. According to the opposing views, music can contain meaning similarly to language and (...) what is more, sometimes it can be even richer than language, as in music we are – arguably – able to encode “emotional meanings”. In recent years, several approaches – also speculative – to the old philosophical question have been proposed by evolutionary psychologists, one of the most controversial views being that of Stephen Pinker’s famous metaphor for music as “auditory cheesecake”. This anti-adaptationist view has been challenged f. ex. by Geoffrey Miller or Ian Cross. In this chapter, I enlist some main philosophical views on the titular problem and investigate some evolutionary-paradigm-based propositions for its solution, to examine whether – both from explanatory and methodological standpoints – the philosophy of music could gain something from recent developments in evolutionary psychology. (shrink)

The two target articles agree that processes of cultural evolution generate richness and diversity in music, but neither address this question in a focused way. We sketch one way to proceed – and hence suggest how the target articles differ not only in empirical claims, but also in their tacit, prior assumptions about the relationship between cognition and culture.

Music is at the centre of what it means to be human – it is the sounds of human bodies and minds moving in creative, story-making ways. We argue that music comes from the way in which knowing bodies (Merleau-Ponty) prospectively explore the environment using habitual 'patterns of action' which we have identified as our innate ‘communicative musicality’. To support our argument, we present short case studies of infant interactions using micro analyses of video and audio recordings to (...) show the timings and shapes of intersubjective vocalisations and body movements of adult and child while they improvise shared narratives of meaning. Following a survey of the history of discoveries of infant abilities, we propose that the gestural narrative structures of voice and body seen as infants communicate with loving caregivers are the building blocks of what become particular cultural instances of the art of music, and of dance, theatre and other temporal arts. Children enter into a musical culture where their innate communicative musicality can be encouraged and strengthened through sensitive, respectful, playful, culturally informed teaching in companionship. The central importance of our abilities for music as part of what sustains our well-being is supported by evidence that communicative musicality strengthens emotions of social resilience to aid recovery from mental stress and illness. Drawing on the experience of the first author as a counsellor, we argue that the strength of one person’s communicative musicality can support the vitality of another’s through the application of skilful techniques that encourage an intimate, supportive, therapeutic, spirited companionship. Turning to brain science, we focus on hemispheric differences and the affective neuroscience of Jaak Panksepp. We emphasise that the psychobiological purpose of our innate musicality grows from the integrated rhythms of energy in the brain for prospective, sensation-seeking affective guidance of vitality of movement. We conclude with a Coda that recalls the philosophy of the Scottish Enlightenment, which built on the work of Heraclitus and Spinoza. This view places the shared experience of sensations of living – our communicative musicality – as inspiration for rules of logic formulated in symbols of language. (shrink)

What was the role of music in the evolutionary history of human beings? We address this question from the point of view that musicality can be defined as a cognitive trait. Although it has been argued that we will never know how cognitive traits evolved (Lewontin, 1998), we argue that we may know the evolution of music by investigating the fundamental cognitive mechanisms of musicality, for example, relative pitch, tonal encoding of pitch, and beat induction. In addition, we (...) show that a nomological network of evidence (Schmitt & Pilcher, 2004) can be built around the hypothesis that musicality is a cognitive adaptation. Within this network, different modes of evidence are gathered to support a specific evolutionary hypothesis. We show that the combination of psychological, medical, physiological, genetic, phylogenetic, hunter–gatherer, and cross-cultural evidence indicates that musicality is a cognitive adaptation. (shrink)

What is this fleeting experience that sometimes hits us when we listen to music? Through several short essays adapted from lectures given at Vanderbilt University between 2008 and 2012, author Joshua McGuire answers this question while exploring what it takes to become better listeners of music. McGuire's premise is that listening to music in a fuller way shows us a fuller way to live, clarifying the way we listen to everything. Ironically, better listening involves a recognition of (...) the absence of time experienced amidst profound silence. After all, the purpose of music is to bring us to silence. "As we listen, we become the silence in which music happens. We disappear.". (shrink)