This major work covers almost all that has been learned about the acoustics of stringed instruments from Helmholtz's 19th-century theoretical elaborations to recent electroacoustic and holographic measurements.Many of the results presented here were uncovered by the author himself over a 20-year period of research on the physics of instruments in the violin family. Lothar Cremer is one of the world's most respected authorities on architectural acoustics and, not incidentally, an avid avocational violinist and violist.The book - which was published in (...) German in 1981 - first of all meets the rigorous technical standards of specialists in musical acoustics. But it also serves the needs and interests of two broader groups: makers and players of stringed instruments are expressly addressed, since the implications of the mathematical formulations are fully outlined and explained; and acousticians in general will find that the work represents a textbook illustration of the application of fundamental principles and up-to-date techniques to a specific problem.The first - and longest - of the book's three parts investigates the oscillatory responses of bowed strings. The natural nonlinearities that derive from considerations of string torsion and bending stiffness are deftly handled and concisely modeled.The second part deals with the body of the instrument. Special attention is given to the bridge, which transmits the oscillations of the strings to the wooden body and its air cavity. In this case, linear modeling proves serviceable for the most part - a simplification that would not be possible with lute - like instruments such as the guitar.The radiation of sound from the body into the listener's space, which is treated as an extension of the instrument itself, is the subject of the book's final part.Lothar Cremer is Professor Emeritus at the Technical University of Berlin, where he served as director of the Institute for Acoustical Engineering. (shrink)

Douglas Wadle celebrates the juxtaposition of art and science while examining music's influence on humanity's understanding of our place in the universe. Tracing the millennia-old love affair between music and science, Wadle chronicles the surprising ubiquity of musical training among history's greatest thinkers. He shines a spotlight on the intertwining stories of pattern and form and how they complement one another in our search for creativity and insight. Einstein's Violin relies on extensive research to tell the story of how music (...) impacts the pattern recognition software in our brains, facilitating more creative problem solving. Without digression into technical treatise, it focuses on the historical stories that best display music's beautiful interaction with mind and universe"--Back cover. (shrink)

Playing with correct intonation is one of the major challenges for a string player. A player must learn how to physically reproduce a target pitch, but before that, the player must learn what correct intonation is. This requires audiation- the aural equivalent of visualization- of every note along with self-assessment whether the pitch played matches the target, and if not, what action should be taken to correct it. A challenge for successful learning is that much of it occurs during practice, (...) typically without outside supervision. A student who has not yet learned to hear correct intonation may repeatedly practice out of tune, blithely normalising bad habits and bad intonation. The real-time reflective nature of intonation and its consistent demand on attention make it a ripe target for technological intervention. Using a violin augmented to combine fingerboard sensors with audio analysis for real-time pitch detection, we examine the efficacy of three methods of real-time feedback for improving intonation and pitch learning. The first, aural feedback in the form of an in-tune guide pitch following the student in real-time, is inspired by the tradition of students playing along with teachers. The second is visual feedback on intonation correctness using an algorithm optimised for use throughout normal practice. The third is a combination of the two methods, simultaneously providing aural and visual feedback. Twelve beginning violinists, including children and adults, were given four in-situ 20-30 minute lessons. Each lesson used one of the intonation feedback methods, along with a control lesson using no feedback. We collected data on intonation accuracy and conducted interviews on student experience and preference. The results varied by player, with evidence of some players being helped by the feedback methods but also cases where the feedback was distracting and intonation suffered. However interviews suggested a high level of interest and potential in having such tools to help during practice, and results also suggested that it takes time to learn to use the real-time aural and visual feedback. Both methods of feedback demonstrate potential for assisting self-reflection during individual practice. (shrink)

Book reviewed in this article: Greation and Abortion: A Study in Moral and Legal Philosophy. By Frances M. Kamm.

The production of good sound generation in the violin is a complex task that requires coordination and spatiotemporal control of bowing gestures. The use of motion-capture technologies to improve performance or reduce injury risks in the area of kinesiology is becoming widespread. The combination of motion accuracy and sound quality feedback has the potential of becoming an important aid in violin learning. In this study, we evaluate motion-capture and sound-quality analysis technologies developed inside the context of the TELMI, a technology-enhanced (...) music learning project. We analyzed the sound and bow motion of 50 participants with no prior violin experience while learning to produce a stable sound in the violin. Participants were divided into two groups: the experimental group received real-time visual feedback both on kinematics and sound quality, while participants in the control group practiced without any type of external help. An additional third group of violin experts performed the same task for comparative purposes. After the practice session, all groups were evaluated in a transfer phase without feedback. At the practice phase, the experimental group improved their bowing kinematics in comparison to the control group, but this was at the expense of impairing the sound quality of their performance. At the retention phase, the experimental group showed better results in sound quality, especially concerning control of sound dynamics. Besides, we found that the expert group improved the stability of their sound while using the technology. All in all, these results emphasize the importance of feedback technologies in learning complex tasks, such as musical instrument learning. (shrink)

This essay considers the work of Jean-Luc Nancy on touch as a model for a conception of the musical body. More than a re-emphasizing of the tactile, though, it is possible to show that Nancy’s work enables an understanding of music as touch. The significance of this re-thinking lies in the counterweight it provides to the degradation of music entailed in its digitalized de-materialization. Hegel is seen to be complicit in this degradation.

Extensive training with a musical instrument results in the automatisation of the bodily operations needed to manipulate the instrument: the performer no longer has to consciously think about the instrument while playing. The ability of the performer to automate operations on the instrument is due to sensorimotor mechanisms that can predict changes in the state of the body and the instrument in response to motor commands. But how strong are these mechanisms? To what extent can we alter the structure of (...) the instrument before they disappear? We performed an exploratory study to understand whether and how sensorimotor predictions survive instrument modification. We asked seven professional violinists to perform repertoire pieces and sight-reading exercises on four different violins: their own, a cheap violin, a small violin, and a violin whose strings had been put on in reverse order. We performed a series of quantitative investigations on performance intonation and duration, and on bowing gestures and errors. The analysis revealed that participants struggled adapting to the altered instruments, suggesting that prediction mechanisms are a function of instrument configuration. In particular, the analysis of bowing errors, intonation, and of performance duration suggested that the performance with the reverse violin was much less fluent and precise than the performer's own instrument; the performance with the small violin was also sub-standard though to a lesser extent. We also observed that violinists were differently affected by instrument modifications, suggesting that the capability to adapt to a new instrument is highly personal. (shrink)

Auditory-guided vocal learning is a mechanism that operates both in humans and other animal species making us capable to imitate arbitrary sounds. Both auditory memories and auditory feedback interact to guide vocal learning. This may explain why it is easier for humans to imitate the pitch of a human voice than the pitch of a synthesized sound. In this study, we compared the effects of two different feedback modalities in learning pitch-matching abilities using a synthesized pure tone in 47 participants (...) with no prior music experience. Participants were divided into three groups: a feedback group receiving real-time visual feedback of their pitch as well as knowledge of results; an equal-timbre group receiving additional auditory feedback of the target note with a similar timbre to the instrument being used ; and a control group practicing without any feedback or knowledge of results. An additional fourth group of violin experts performed the same task for comparative purposes. All groups were posteriorly evaluated in a transfer phase. Both experimental groups improved their intonation abilities with the synthesized sound after receiving feedback. Participants from the equal-timber group seemed as capable as the feedback group of producing the required pitch with the voice after listening to the human voice, but not with the violin. In addition, only participants receiving real-time visual feedback learned and retained in the transfer phase the mapping between the synthesized pitch and its correspondence with the produced vocal or violin pitch. It is suggested that both the effect of an objective external reward, together with the experience of exploring the pitch space with their instrument in an explicit manner, helped participants to understand how to control their pitch production, strengthening their schemas, and favoring retention. (shrink)

“We can avoid, above all, the mistake of thinking that unless one is big one is negligible.”This paper tries to think about the contexts of scientific practices in peripheral spaces, spaces that exist outside the domain of the resource-rich and well-established scientific communities. I ask the question whether contributions from such modest circumstances can give rise to any creative expertise that is capable of producing novel outcomes in science, and whether exploring such contexts might give us reasons for changing our (...) current mental model of what we take science to be. I assume, of course, that scientific thinking can be present in modest as well as in resource-rich circumstances, and little-known episodes... (shrink)

Recent research into how musicians coordinate their expressive timing, phrasing, articulation, dynamics, and other stylistic characteristics during performances has highlighted the role of predictive processes, as musicians must anticipate how their partners will play in order to be together. Several studies have used information flow techniques such as Granger causality to show that upcoming movements of a musician can be predicted from immediate past movements of fellow musicians. Although musicians must move to play their instruments, a major goal of music (...) making is to create a joint interpretation through the sounds they produce. Yet, information flow techniques have not been applied previously to examine the role that fellow musicians' sound output plays in these predictive processes and whether this changes as they learn to play together. In the present experiment, we asked professional violinists to play along with recordings of two folk pieces, each eight times in succession, and compared the amplitude envelopes of their performances with those of the recordings using Granger causality to measure information flow and cross-correlation to measure similarity and synchronization. In line with our hypotheses, our measure of information flow was higher from the recordings to the performances than vice versa, and decreased as the violinists became more familiar with the recordings over trials. This decline in information flow is consistent with a gradual shift from relying on auditory cues to predict the recording to relying on an internally-based (learned) model built through repetition. There was also evidence that violinists became more synchronized with the recordings over trials. These results shed light on the planning and learning processes involved in the aligning of expressive intentions in group music performance and lay the groundwork for the application of Granger causality to investigate information flow through sound in more complex musical interactions. (shrink)

Rubin loves the beautiful sounds that are played by the orchestra. He wants to learn to play the violin and make his own music. But when Rubin plays, it doesn't sound like he imagines it should. Rubin goes into the forest to practice alone and despite only getting the violin to screech, he finds an unlikely audience that loves his unique style.

Uniqueness appears to enhance intrinsic value. A unique stamp sells for millions of dollars; Stradivarius violins are all the more precious because they are unlike any others. This observation has not gone overlooked in the value theory literature: uniqueness plays a starring role recalibrating the dominant Moorean understanding of the nature of intrinsic value. But the thesis that uniqueness enhances intrinsic value is in tension with another deeply plausible and widely held thesis, namely the thesis that there is a (...) pro tanto reason to promote the good. It is argued that there is a second, distinct type of uniqueness that plays a more interesting and important axiological role: uniqueness imparts irreplaceable value. This gives occasion to develop the surprisingly undertheorized notion of irreplaceable value. (shrink)

How does attention contribute to perceptual experience? Within cognitive science, attention is known to contribute to the organization of sensory features into perceptual objects, or “object-based organization.” The current paper tackles a different type of organization and thus suggests a different role for attention in conscious perception. Within every perceptual experience we find that more subjectively interesting percepts stand out in the foreground, whereas less subjectively interesting percepts are relegated to the background. The sight of a sycamore often gains the (...) visual foreground for a nature lover, whereas the sound of a violin often gains the auditory foreground for a music lover, but not necessarily vice versa. How does the perceptual system organize early sensory processing according to the subject’s interests? The current paper reveals how this subject-based organization is brought about and maintained through top-down attention. In fact, the current paper argues that top-down attention is necessary for conscious perception in so far as it is necessary for bringing about and maintaining the subject-based organization of perceptual experience. (shrink)

Timbre is that property of a sound that distinguishes it other than pitch and loudness, for instance the distinctive sound quality of a violin or flute. While the term is obscure, the concept has played an important, implicit role in recent philosophy of sound. Philosophers have debated whether to identify sounds with properties of waves, events, or objects. Many of the intuitive considerations in this debate apply most clearly to timbre qualities. Two prominent forms of timbre physicalism have emerged: one (...) identifying timbre with the spectral composition of proximal waves; the second identifying timbre with the mechanical vibrations at a sound source. I demonstrate that the first possibility is conceptually unsatisfying, while the second fails to meet the standards of rigor established by the color physicalism literature. One response to these worries might be to adopt a more modest, non-reductive realism about timbre, such as the ecological view of J. J. Gibson. (shrink)

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

The purpose of the study is to explore a new research methodology that will improve our understanding of “flow” through indicators of physiological and qualitative state. We examine indicators of “flow” experienced by musicians of a youth string quartet, two women (25, 29) and two men (23, 24). Electrocardiogram (ECG) equipment was used to record heart rate variability (HRV) data throughout the four movements in one and the same quartet performed during two concerts. Individual physiological indicators of flow were supplemented (...) by assessments of group “state flow” (means from standardized questionnaires) and a group interview in which the musicians provided qualitative data. A matrix was constructed for the characterization of different kinds of demands in the written music in each one of the four movements for each one of the musicians. HRV derived from ECG data showed non-significant trends for group state flow across the eight musical episodes. Individual-level analysis showed that compared to the other players the first violin player had the highest mean heart rate and the lowest increase in high frequency (HF) power in HRV during this particular movement, particularly during the second concert. The qualitative data illustrated how an interplay of synchronized social interactions between this player and their colleagues during the musical performance was associated with a feeling of group state flow and served to support the first violinist. The case illustrates that the proposed mixed methodology drawing on physiological and qualitative data, has the potential to provide meaningful information about experiences of a flow state, both at individual and group levels. Applications in future research are possible. (shrink)

Doxastic voluntarism is the philosophical doctrine according to which people have voluntary control over their beliefs. Philosophers in the debate about doxastic voluntarism distinguish between two kinds of voluntary control. The first is known as direct voluntary control and refers to acts which are such that if a person chooses to perform them, they happen immediately. For instance, a person has direct voluntary control over whether he or she is thinking about his or her favorite song at a given moment. (...) The second is known as indirect voluntary control and refers to acts which are such that although a person lacks direct voluntary control over them, he or she can cause them to happen if he or she chooses to perform some number of other, intermediate actions. For instance, a person untrained in music has indirect voluntary control over whether he or she will play a melody on a violin. Corresponding to this distinction between two kinds of voluntary control, philosophers distinguish between two kinds of doxastic voluntarism. Direct doxastic voluntarism claims that people have direct voluntary control over at least some of their beliefs. Indirect doxastic voluntarism, however, supposes that people have indirect voluntary control over at least some of their beliefs, for example, by doing research and evaluating evidence. This article offers an introductory explanation of the nature of belief, the nature of voluntary control, the reasons for the consensus regarding indirect doxastic voluntarism, the reasons for the disagreements regarding direct doxastic voluntarism, and the practical implications for the debate about doxastic voluntarism in ethics, epistemology, political theory, and the philosophy of religion. (shrink)

Sentences such as 'Chocolate tastes good' have been widely discussed as sentences that give rise to faultless disagreement. As such, they actually belong to the more general class of impersonal perception reports, which include 'The violin sounds / looks strange' as well sentences that are about an agent-centered situation such as 'It feels / seems like it is going to rain'. I maintain the view that faultless disagreement is due to first person-based genericity, which, roughly, consists in attributing a property (...) to anyone the speaker (or described agent) identifies with (which generally requires a first-person experience) (Moltmann 2010). Unlike my previous analysis (and similar analyses), this paper no longer makes use of experiencers or judges as implicit arguments of taste predicates, but argues that impersonal perception verbs (taste, look, feel, seem), have a logophoric character. More precisely, such verbs describe perceptual occurrences whose experiencer is identical to the agent of the utterance situation, described attitudinal situation, or the situations a generic operator may range over. Perceptual occurrences are sharply distinguished ontologically from perceptual experiences as well as perceptual objects, entities we refer to as ‘the taste of chocolate’, ‘the sound of the violin’, ‘the look of the violin’. Sentences about perceptual objects ('the taste of chocolate is good', 'the sound of the violin is great', 'the look of the violin is beautiful') also give rise to faultless disagreement, but the source of that is a first-person-based attribution of an evaluative predicate to an (objective) perceptual object. (shrink)

This essay offers a theoretical analysis of the changes which are taking place in the musical consciousness of listeners in the present phase of society. The author seeks rather to deduce the conditions of musical reception from the present stage of musical production. The first part of the article deals with changes in production as they affect the general consciousness of listeners. Light music is discussed as well as serious music insofar as it reaches the consumer. Changes in reception are (...) revealed in certain characteristics like the cult of the melody, of the voice, of the master violin, and they are tied up with specific economic concepts. Success plays a particularly important role in this connection.The second part is devoted to the retrogression in listening, analyzed psychologically. Docile passivity, imitation of pre-given patterns, and bitter resentment of the „abnormal“ have become characteristic for the listener. The author shows how this retrogression has become concretized in the formation of a „musical child’s language.“Many listeners seek to overcome passivity by a pseudo-activity. The social function of certain types like the jitter-bug, the radio amateur, or the man with a knack for jazz, are discussed.L’article entreprend d’interpréter sous forme d’une esquisse théorique les transformations qu’a subies la conscience musicale des auditeurs dans la phase actuelle de l’évolution sociale.On n’analyse pas psychologiquement les réactions des auditeurs ; mais on prend pour point de départ Tétât de la production, et de celui-ci on déduit celui de la réception.La première partie traite de la transformation de la production dans la mesure où celle-ci atteint la conscience commune des auditeurs. L’auteur considère aussi bien la musique légère que la soi-disant musique sérieuse et les modifications que connaît celle-ci pour parvenir à la consommation.Ces modifications font de la musique un fétiche. On en prend pour exemple le culte des „idées“ musicales, de la voix et des „violons de maître“. Le caractère fétiche de la musique se mesure au succès accumulé.Ensuite, on développe quelques catégories du fétichisme musical : dépravation, arrangement, „divertissement élevé“, idolâtrie de la perfection.Au fétichisme de la musique correspond du côté de l’auditeur une régression de la faculté d’entendre — phénomène qui fait l’objet de la deuxième partie de l’étude. On l’interprète comme l’attitude auditive caractéristique des „régressifs“. Soumission passive, imitation de l’antérieurement donné, fureur contre ce qui sort de la norme — définissent cette attitude, qui s’objective en un langage musical puéril en formation et dont quelques éléments sont esquissés.A cette passivité, de larges groupes d’auditeurs cherchent vainement à échapper par une pseudo-activité. Quelques types de pseudo-activité sont décrits : l’enthousiaste, le bricoleur et le „chic type“. On montre la fonction sociale de ces types.Enfin, on traite des possibilités dialectiques de l’audition du régressif. Une confrontation de l’expérience fondamentale de la musique radicalement neuve avec le mode régressif d’entendre termine l’article. (shrink)

Lily Furedi’s Subway (1934) is full of individuals. It is a painting of a subway car filled with people on their way home from work. At first, these individuals appear rather isolated, just doing their own thing. But upon closer examination, a viewer notices something rather peculiar, namely that these individuals are surreptitiously, unconsciously, uncontrollably interested in each other. A couple quietly leans in for a kiss; a man watches furtively as a woman applies her make-up; a woman reads over (...) the shoulder of a fellow passenger; and the viewer’s eyes fix on a sleeping man holding a violin case. Furedi places her viewer on this subway and in so doing allows her to catch sight of individualism in its private.. (shrink)

Social behaviors rely on the coordination of multiple effectors within one’s own body as well as between the interacting bodies. However, little is known about how coupling at the interpersonal level impacts coordination among body parts at the intrapersonal level, especially in ecological, complex, situations. Here, we perturbed interpersonal sensorimotor communication in violin players of an orchestra and investigated how this impacted musicians’ intrapersonal movements coordination. More precisely, first section violinists were asked to turn their back to the conductor and (...) to face the second section of violinists, who still faced the conductor. Motion capture of head and bow kinematics showed that altering the usual interpersonal coupling scheme increased intrapersonal coordination. Our perturbation also induced smaller yet more complex head movements, which spanned multiple, faster timescales that closely matched the metrical levels of the musical score. Importantly, perturbation differentially increased intrapersonal coordination across these timescales. We interpret this behavioral shift as a sensorimotor strategy that exploits periodical movements to effectively tune sensory processing in time and allows coping with the disruption in the interpersonal coupling scheme. As such, head movements, which are usually deemed to fulfill communicative functions, may possibly be adapted to help regulate own performance in time. (shrink)

Friedrich Nietzsche's reference to Ernst Chladni in ‘On Truth and Lie in an Extra-Moral Sense’ (1873) could easily be overlooked as a casual analogy. Yet it emerges from a systematic engagement with the nascent field of acoustics. Chladni was among the discipline's founding fathers, having honed the application of rigorous empirical testing to sound and music. His name is most enduringly associated with the discovery of the 'sound figures', which rendered sound visible for the first time. To produce them, Chladni (...) scattered sand onto a metal sheet. A note was then emitted by playing a violin bow against its side. The resulting oscillations prompted the sand to settle in a range of symmetrical patterns. The natural beauty of the shapes made them quite famous. Yet they also represented a mystery. Though the formula for calculating the oscillation of single strings was reliable, it could not easily be reconciled with oscillation in two dimensions. In lieu of an explanation, the sound figures became the object of speculative attention. Their existence posed a difficulty for the quantitative ontology of rationalist metaphysics. The inheritors of Schelling, for example, saw in the sound figures an undeciphered language of nature. But Nietzsche was implacably opposed to this position: for him, nature contains no inherent meaning, no rational order, and no divine teleology. The ‘book of nature’ was at best an anthropomorphic projection, and at worst a theological dogma. Thus reframed, Chladni's sound figures confront us not with the infinite mystery of nature, but our own cognitive impotence. The following essay therefore elaborates the provenance of Nietzsche's sound figure analogy: a rare intersection of scientific experiment and speculative philosophy. (shrink)

The punishment of social misconduct is a powerful mechanism for stabilizing high levels of cooperation among unrelated individuals. It is regularly assumed that humans have a universal disposition to punish social norm violators, which is sometimes labelled “universal structure of human morality” or “pure aversion to social betrayal”. Here we present evidence that, contrary to this hypothesis, the propensity to punish a moral norm violator varies among participants with different career trajectories. In anonymous real-life conditions, future teachers punished a talented (...) but immoral young violinist: they voted against her in an important music competition when they had been informed of her previous blatant misconduct toward fellow violin students. In contrast, future police officers and high school students did not punish. This variation among socio-professional categories indicates that the punishment of norm violators is not entirely explained by an aversion to social betrayal. We suggest that context specificity plays an important role in normative behaviour; people seem inclined to enforce social norms only in situations that are familiar, relevant for their social category, and possibly strategically advantageous. (shrink)

Viele unserer Bewusstseinszustände sind dadurch charakterisiert, dass es irgendwie für uns ist (Nagel 1974), in diesen Zuständen zu sein. In der Philosophie des Geistes werden derartige Zustände als ‚phänomenale Zustände‘ bezeichnet. ‚Phänomenale Begriffe‘ sind nun spezielle Begriffe, mittels derer wir uns auf phänomenale Zustände beziehen. Paradigmatische Beispiele für phänomenale Zustände, von denen wir einen phänomenalen Begriff besitzen können, sind das bewusste Erlebnis, die Farbe Blau zu sehen, den Klang einer Violine zu hören oder Schmerz zu fühlen. Zentral ist, dass sich (...) phänomenale Begriffe auf besondere Art und Weise auf diese Zustände beziehen – sie konzeptualisieren sie anhand ihrer subjektiven, phänomenalen Eigenschaften (d.h. anhand ihrer ‚Qualia‘). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rethinking Variations of Musical MeaningfulnessAnneli ArhoAs a curious mind, I am able to focus on new kinds of topics, to research unknown practices; I am able to explore different cultures, interesting customs of making music, or I may trace various ways of musical thinking. It is wonderful to be able to enrich and transform my understanding of the musical world. [End Page 55]As a lived body,1 I have grown (...) up in the Western music tradition.2 This is my culture. This is the tradition I know as a composer, as a player of an instrument, as a teacher, as a researcher. Living in this culture has given me an embodied understanding of music. This understanding provides me with a meaningful background whenever I sense (hear, see, feel with my body's movements, read, fancy, and speak, write, or read about) music. I know this music in myself.As a musician, I have often been puzzled—even annoyed—that the tradition of writing about music favors descriptions and contemplations which I, as a musician, often find misleading and distorted. It has taken me a long time to realize two things: (1) the professional writers within various discourses create their own kinds of musical meaningfulness that are often interesting in themselves, and (2) in order to really share that kind of meaningfulness, I would have had to grow up within the discourse through which that meaningfulness evolved or was constructed.As a researcher, therefore, I have chosen to ground my research in my lived body, in the musicianship constituted through my experiences in making music. I am interested in phenomena of the lived world—as they are lived through and understood when making music.3 I am interested in different practices and divergent ways of regulating and guiding the making of music. I am interested in habitual ways of speaking about music, common ways of manual and mental training and rehearsing, and in different ways of teaching, supervising, and coaching. For me, all these reveal the phenomenon of music in our culture.My Living with Music—A Field of Musical MeaningfulnessAs a composer, I sometimes work with children and young people, and with their instrumental teachers. I have just started a three-year project in a music school, working each year with a new group of players. In 2004, I conducted a pilot project with recorder players. This year it will be the violin players; next year I may work with the piano players. There are many possibilities for the third year: the head of the school will have a hard job choosing a group from among the several enthusiastic candidates.I have enjoyed the open-mindedness of the children and of the volunteer teachers, too. Learning to play with music—learning to handle, vary, and transform, to compose, decompose, and recompose musical fragments, pieces, or sequences—may be as natural as any playing. Intertwining play, variation, and imitation seems to be an essential part of living and learning.But, I have also had to confront entrenched mythical conceptions of what it means to compose music, and curricula based on those conceptions.4 In my mind, composing cannot be regarded as a phenomenon that could simply be included in a curriculum. In practice, composing may refer to a variety of ways [End Page 56] of making music that are not always easy to tell apart from other culturally named phenomena, like playing, singing, improvising, or writing music.5 For me, composing simply refers to certain ways I live with music: several different ways of dealing with music, different kinds of activities, makings and doings, special states of mind, and special ways of using my embodied knowledge of music. Thus, composing refers to an individual and invisible6 background, an embodied perspective, a way of being, which shows me a certain variety of musical phenomena and their qualities, and conceals some others. Composing, like all arts of making and doing, generates its own practical and existential questions, which often are not an issue for those who do not compose. An outsider never really grasps the situation of a practitioner.Culturally bound ways of making music are being redefined... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”Christine A. BrownI was recently asked to settle a friendly debate between two college graduates. The first, my daughter's boyfriend, argued that someone with talent and motivation could become as creative a composer without formal musical training as with it. The other, my daughter, vigorously countered that while someone might compose well on one's own, the (...) result would not be as versatile or thoughtfully developed as it could be with good formal instruction. I saw the musical educations of the debaters reflected in their arguments. My daughter had accumulated fourteen years of formal instruction in violin, cello, voice, and dance and took part in high school choral, theatrical, and orchestral performances. Her studies continued into college and from time to time she performs in community theater. Her boyfriend was the only musically trained member of his family. At his own request he studied piano for five years, later channeling his musical energies into a rock group. Though he did not study music in college, he continues to play keyboard and guitar. Both agree that the ongoing debate between them illustrates the strong connection between musical training and musical valuing. The life-world of their experiences shaped their judgments of musical quality and left imprints on their views of what matters more, talent or training. I will return to this scenario later.I find solid points of agreement with Eva Alerby and Cecilia Ferm starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works. Regarding extra-musical contexts, furthermore, recent evidence supporting the integration of subject areas at the elementary level appears to extend the boundaries of musical learning in a positive direction. Additionally, the authors' description of embodied musical learning holds great interest. Their argument that musical learning must be appropriated within the body resonates strongly within me as I reflect upon performing and teaching piano. Experience with beginning level adult pianists suggests to me that once the awkwardness of newly-learned movements fades with time and effort, students often discover a close interaction between their physical and conceptual knowledge of music. Of related interest is the authors' definition of musicality as taking embodied musical knowledge and making it one's own. This surpasses physical mastery of an instrument and describes a personal [End Page 208] and emotional investment in music. It is at this point in the essay that the recognizable link between mind, body, and emotion in music is most clear.Alongside these engaging ideas, however, are statements throughout the essay that invite further questions or comments. First among these is the statement that the knowledge resulting from learning is not always what was intended or planned. While this is often the case, elaboration upon modes of knowledge in question would help clarify the authors' ideas. Since knowledge takes a variety of forms, as the authors imply, these forms should be explored, defined, and applied to the process of teaching and learning music.Related to that suggestion is my response to the statement that the aim of music education is to produce musical knowledge. I am assuming that musical knowledge includes an age-appropriate blend of performance skill, reading ability, ear training, historical and cultural connections, basic theoretical and stylistic understanding, and acquaintance with creative processes. In many regions of our country, public arts education has been de-valued to the extent that we must convince administrators, parents, and sometimes students, of its importance. Until this situation improves, I must personally consider the aim of music education as producing, alongside musical knowledge, the desire for music as a lifelong pursuit, be it active or passive. Without this desire, musical knowledge gained often goes unused. Referring to my opening anecdote, my daughter is not participating in music while her less extensively trained boyfriend is. I know of several students like her who gained expertise on an instrument and who have now stopped playing for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”Christine A. BrownI was recently asked to settle a friendly debate between two college graduates. The first, my daughter's boyfriend, argued that someone with talent and motivation could become as creative a composer without formal musical training as with it. The other, my daughter, vigorously countered that while someone might compose well on one's own, the (...) result would not be as versatile or thoughtfully developed as it could be with good formal instruction. I saw the musical educations of the debaters reflected in their arguments. My daughter had accumulated fourteen years of formal instruction in violin, cello, voice, and dance and took part in high school choral, theatrical, and orchestral performances. Her studies continued into college and from time to time she performs in community theater. Her boyfriend was the only musically trained member of his family. At his own request he studied piano for five years, later channeling his musical energies into a rock group. Though he did not study music in college, he continues to play keyboard and guitar. Both agree that the ongoing debate between them illustrates the strong connection between musical training and musical valuing. The life-world of their experiences shaped their judgments of musical quality and left imprints on their views of what matters more, talent or training. I will return to this scenario later.I find solid points of agreement with Eva Alerby and Cecilia Ferm starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works. Regarding extra-musical contexts, furthermore, recent evidence supporting the integration of subject areas at the elementary level appears to extend the boundaries of musical learning in a positive direction. Additionally, the authors' description of embodied musical learning holds great interest. Their argument that musical learning must be appropriated within the body resonates strongly within me as I reflect upon performing and teaching piano. Experience with beginning level adult pianists suggests to me that once the awkwardness of newly-learned movements fades with time and effort, students often discover a close interaction between their physical and conceptual knowledge of music. Of related interest is the authors' definition of musicality as taking embodied musical knowledge and making it one's own. This surpasses physical mastery of an instrument and describes a personal [End Page 208] and emotional investment in music. It is at this point in the essay that the recognizable link between mind, body, and emotion in music is most clear.Alongside these engaging ideas, however, are statements throughout the essay that invite further questions or comments. First among these is the statement that the knowledge resulting from learning is not always what was intended or planned. While this is often the case, elaboration upon modes of knowledge in question would help clarify the authors' ideas. Since knowledge takes a variety of forms, as the authors imply, these forms should be explored, defined, and applied to the process of teaching and learning music.Related to that suggestion is my response to the statement that the aim of music education is to produce musical knowledge. I am assuming that musical knowledge includes an age-appropriate blend of performance skill, reading ability, ear training, historical and cultural connections, basic theoretical and stylistic understanding, and acquaintance with creative processes. In many regions of our country, public arts education has been de-valued to the extent that we must convince administrators, parents, and sometimes students, of its importance. Until this situation improves, I must personally consider the aim of music education as producing, alongside musical knowledge, the desire for music as a lifelong pursuit, be it active or passive. Without this desire, musical knowledge gained often goes unused. Referring to my opening anecdote, my daughter is not participating in music while her less extensively trained boyfriend is. I know of several students like her who gained expertise on an instrument and who have now stopped playing for... (shrink)

Repetitive practice is one of the most important factors in improving the performance of motor skills. This paper focuses on the analysis and classification of forearm gestures in the context of violin playing. We recorded five experts and three students performing eight traditional classical violin bow-strokes: martelé, staccato, detaché, ricochet, legato, trémolo, collé, and col legno. To record inertial motion information, we utilized the Myo sensor, which reports a multidimensional time-series signal. We synchronized inertial motion recordings with audio data to (...) extract the spatiotemporal dynamics of each gesture. Applying state-of-the-art deep neural networks, we implemented and compared different architectures where convolutional neural networks models demonstrated recognition rates of 97.147%, 3DMultiHeaded_CNN models showed rates of 98.553%, and rates of 99.234% were demonstrated by CNN_LSTM models. The collected data contained sufficient information to distinguish the bowing techniques studied, and deep learning methods were capable of learning the movement patterns that distinguish these techniques. Each of the learning algorithms investigated produced high classification accuracies which supported the feasibility of training classifiers. The resulting classifiers may provide the foundation of a digital assistant to enhance musicians' time spent practicing alone, providing real-time feedback on the accuracy and consistency of their musical gestures in performance. (shrink)

Very few nineteenth-century works are unintelligible in terms of a dual structure. Consider a Chopin Ballade or Etude as an example. Such pieces, with their continuous chromatic mutation and rhapsodic form, make little sense in classical terms. Yet once one grasps that the process of chromatic alteration is their norm, not a mode of deviation, they become perfectly and immediately intelligible. Their autonomy is in no way compromised, nor do the pieces require extrinsic support from language; any competent listener will (...) recognize that their structural tensions derive from the contrast between a continual attack on the stability of their tonal centers and the continual resilience of those centers as sources of structure. Chopin, like Schumann after him, may go so far as to treat the major and minor modes of one key as interchangeable; but even that only emphasizes the simultaneity of tonal stability and tonal instability which informs their works and clarifies their structures. Similarly, one can find in Brahms a deliberate return to the "premise structure" of classical music, as filtered through Beethoven; and Brahms' music clearly attempts to mediate between this structure and the normative instability of nineteenth-century harmony. Subotnik, however, is pressed by her thesis to deny the autonomy and dual structure of Brahms' music. So she says of him that "Those of his instrumental works which achieved popularity allowed the majority of listeners to perceive nothing in them beyond the individuality of Brahms' themes, gestures, and instrumental colors; within his works the classical identity of subjectively designed gesture and objectively rigorous structure was no longer generally audible."1 Subotnik offers no evidence in support of this claim nor does she mention a single work of Brahms in connection with it. In view of such transparently "classical" structures as the Variations and Fugue on a Theme of Handel, the Passacaglia of the Fourth Symphony, the Rondo of the Violin Concerto, and dozens of others, the claim seems improbable at best. · 1. Rose Rosengard Subotnik, "The Cultural Message of Musical Semiology: Some Thoughts on Music, Language, and Criticism since the Enlightenment," Critical Inquiry 4 : 761. Lawrence Kramer has written various articles on nineteenth- and twentieth-century poetry and on the relation between poetry and music. An assistant professor of English at Fordham University, he has written a book on Wordsworth and Keats. (shrink)

Conversation, talk, the communicative process, can be compared to the symphonic play of a piece of music. There is an orchestra, the musicians, whose tones and notes must flow, complement and harmonize with one another. There is a main theme. As the music builds variations on the theme are played, and new themes and subthemes are introduced. The basinett responds to the strings, the bass emphasizes the mood of the violin, while the french horn adds a new melody. The subtlety (...) and evenness of flow, the seeming simplicity of the piece, the rich interleaving of subdevelopments, variations, tangents, and recapitulations, are what make a piece of music great.Coherent communication is much the same. It looks easy. It flows. It seems effortless. In reality, of course, it is rich and complex, in both form and content. As in music, conversants may begin a conversation slowly, tentatively, with some simple (or complex) topic in mind. Slowly the momentum builds, the connections surface, and the themes become defined. As in music, these themes are then elaborated upon in various ways. Topic elaborations often spawn their own variations. New themes and subthemes are introduced. All the while, as in music, original themes reappear and are interwoven with the new ones. The twists and turns of the conversation seem to occur effortlessly.In music, there is usually one composer in control of which instrument plays next; one composer who is in charge of what the instrument will say. There is a single coordinator of theme introductions, developments, variations, and interweavings. The composition is done off-line and usually involves editing and re-editing for flaws. In discourse, however, we have on-line development with multiple parties responsible for flow coordination. All parties have to organize their own turns, themes, and variations, in addition to their being able to integrate these items into co-conversants'.In their book, “Understanding Computers and Cognition,” Winograd and Flores (1987) cite the following from Gadamer (Winograd and Flores, 1987, p. 32):It is not so much our judgments as it is our prejudices that constitute our being ... the historicity of our existence entails that prejudices, in the literal sense of the word, constitute the initial directedness of our whole ability to experience. Prejudices are biases of our openness to the world. They are simply conditions whereby we experience something — whereby what we encounter says something to us. (Gadamer, Philosophical Hermeneutics, 1976, p. 9). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Elizabeth Gould, “The Nomadic Turn: Epistemology, Experience, and Women College Band Directors”Stephen Franklin ZdzinskiI want to thank Elizabeth Gould for providing us with a thought-provoking paper examining the journeys of women university band directors through a post-modernist and feminist perspective. As a music education professor who deals with students from undergraduate through doctoral levels, I have the opportunity to provide professional guidance to many students, both (...) female and male. A number of my female instrumental music education students ask me about becoming high school and university band directors. I want to be honest with them about the realities of the profession, but I want also to encourage them to pursue their [End Page 195] professional dreams and goals despite any potential structural limitations. I found this paper to provide me with very good insights that I can use to advise my students.According to Gould, there are a number of factors that contribute to the under-representation of women in the field of college band directing. For example, we can see that historically the first band directors and instrumental music educators came either from military or professional performance backgrounds and as a result, most instrumental music teachers were initially male. In addition, early college band organizations, particularly marching musical organizations, were entirely male in composition. While these conditions have not continued to the present day, they set the stage for what was to follow.Socialization and Women University Band DirectorsThe different socialization of girls and boys may also be found to play a role in the under-representation of women as university band directors. A number of researchers have found gender differences in instrument selection,1 and other research points to additional familial socialization differences by gender.2According to Paul Woodford,3 the primary socialization of music education majors and the formation of a music teacher's identity occur during their own pre-collegiate schooling. Several researchers have suggested that precollegiate teaching experiences may be influential in decisions to choose music teaching as a career.4 Through countless hours of observation in their own programs, female and male students may be socialized to professional expectations of band directing before they ever enter a university-based instrumental music education program. Sylvia Tibbets, Winifred Shepard and David Hess, Stan Albrecht, Philip Griswold, and Denise Chroback all found that instrumental music teaching was viewed by both children and adults as a masculine profession.5 Woodford found that many of our current teacher education programs merely recreate existing practices, thus replicating inequitable situations in regards to opportunities for women in the profession of high school and college band directing.6After graduation, the outcome of a gender-influenced instrument choice may be inhibiting the career aspirations of future women band directors. Research by Barry Kopetz examined the influences of gender, school type, and instrument on instrumental music teacher selection by school principals.7 While significant gender differences in favor of males were found, they accounted for only 3% of the variance in teacher selection. Also important was the type of school being attended (performance versus music education institution), also accounting for 3% of the variance. Instrument, on the other hand, accounted for 10% of the variance in teacher selection, with teachers being selected in the following order: [End Page 196] trumpet, clarinet, oboe, and violin. If one examines the instruments commonly played by female instrumentalists, the research by Kopetz may suggest that gender discrimination in band hiring may in fact be exaggerated by playing the "wrong" instrument. If the student in addition comes from a performance-oriented school, that is considered by hiring officials as another negative factor that reduces their job possibilities.Structural Difficulties and Woman University Band DirectorsGould makes an interesting point when she states that while it is useful to know about the reasons for a lack of women in the band directing profession, this information by itself is not going to change things until we actually understand the structural underpinnings of the problem. The use of the metaphor of the nomad is helpful in attempting to explain the structural difficulties inherent in women becoming university band directors. In fact, I... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Elizabeth Gould, “The Nomadic Turn: Epistemology, Experience, and Women College Band Directors”Stephen Franklin ZdzinskiI want to thank Elizabeth Gould for providing us with a thought-provoking paper examining the journeys of women university band directors through a post-modernist and feminist perspective. As a music education professor who deals with students from undergraduate through doctoral levels, I have the opportunity to provide professional guidance to many students, both (...) female and male. A number of my female instrumental music education students ask me about becoming high school and university band directors. I want to be honest with them about the realities of the profession, but I want also to encourage them to pursue their [End Page 195] professional dreams and goals despite any potential structural limitations. I found this paper to provide me with very good insights that I can use to advise my students.According to Gould, there are a number of factors that contribute to the under-representation of women in the field of college band directing. For example, we can see that historically the first band directors and instrumental music educators came either from military or professional performance backgrounds and as a result, most instrumental music teachers were initially male. In addition, early college band organizations, particularly marching musical organizations, were entirely male in composition. While these conditions have not continued to the present day, they set the stage for what was to follow.Socialization and Women University Band DirectorsThe different socialization of girls and boys may also be found to play a role in the under-representation of women as university band directors. A number of researchers have found gender differences in instrument selection,1 and other research points to additional familial socialization differences by gender.2According to Paul Woodford,3 the primary socialization of music education majors and the formation of a music teacher's identity occur during their own pre-collegiate schooling. Several researchers have suggested that precollegiate teaching experiences may be influential in decisions to choose music teaching as a career.4 Through countless hours of observation in their own programs, female and male students may be socialized to professional expectations of band directing before they ever enter a university-based instrumental music education program. Sylvia Tibbets, Winifred Shepard and David Hess, Stan Albrecht, Philip Griswold, and Denise Chroback all found that instrumental music teaching was viewed by both children and adults as a masculine profession.5 Woodford found that many of our current teacher education programs merely recreate existing practices, thus replicating inequitable situations in regards to opportunities for women in the profession of high school and college band directing.6After graduation, the outcome of a gender-influenced instrument choice may be inhibiting the career aspirations of future women band directors. Research by Barry Kopetz examined the influences of gender, school type, and instrument on instrumental music teacher selection by school principals.7 While significant gender differences in favor of males were found, they accounted for only 3% of the variance in teacher selection. Also important was the type of school being attended (performance versus music education institution), also accounting for 3% of the variance. Instrument, on the other hand, accounted for 10% of the variance in teacher selection, with teachers being selected in the following order: [End Page 196] trumpet, clarinet, oboe, and violin. If one examines the instruments commonly played by female instrumentalists, the research by Kopetz may suggest that gender discrimination in band hiring may in fact be exaggerated by playing the "wrong" instrument. If the student in addition comes from a performance-oriented school, that is considered by hiring officials as another negative factor that reduces their job possibilities.Structural Difficulties and Woman University Band DirectorsGould makes an interesting point when she states that while it is useful to know about the reasons for a lack of women in the band directing profession, this information by itself is not going to change things until we actually understand the structural underpinnings of the problem. The use of the metaphor of the nomad is helpful in attempting to explain the structural difficulties inherent in women becoming university band directors. In fact, I... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mary J. Reichling (March 29, 1941–July 4, 2023)Barbara KennisonIn the early morning hour on July 4, 2023, Mary died from cancer at the age of 82. On July 8, 2023, her family, professional colleagues, former students, and friends gathered in Holy Family Chapel, Nazareth, Michigan to celebrate her life and legacy. In this sacred space, several in attendance offered expressions regarding Mary’s impact on their life professionally and personally. (...) Reflecting on the words in the music served to provide comfort and solace as did the choir and instrumental interludes. Monsignor Michael Hazard celebrated the mass of Christian Burial.Mary was born on March 28, 1941, in Detroit, Michigan, the oldest child of Clarence and Evangeline Reichling. As a young child, she aspired to becoming a physician and was quickly discouraged by others as this was viewed as a profession for men, not women. Her father, recognizing her talent and interest in music, continued to support her as she pursued her music studies, giving her a high level of confidence and skill in piano performance while still in high school.Her teaching career was launched after completing her undergraduate degree from Nazareth College, Kalamazoo, Michigan, August 5, 1966, her Masters in Music Education from Indiana University in 1969, and a Doctor of Music Education from Indiana University in 1991. [End Page 89]Her initial teaching began at Nazareth College, addressing the academic needs of students holding an interest in music and music education. Mary also provided private lessons to young children, teens, and adults. On several occasions I had the opportunity to observe her work with children and young people and was fascinated by her depth of understanding in addressing not only the musical learning needs of her private students as well as the social and psychological issues that had an impact on their musical abilities.An event stands out in my mind. Two adults, well known to the Kalamazoo community, Father John Grathwohl, Pastor, St Thomas Moore Student Parish, Western Michigan University and Evan LeDuc, Kalamazoo’s City Manager, decided to take violin lessons with Mary as their instructor. They appeared at her studio door, dressed like Dan Aykroyd and John Belushi in the film, The Blues Brothers, as they were wearing long oversized trench coats, black overshoes, black felt crumpled hats, and dark sunglasses, carrying their violin cases, and looking unshaven and disheveled. Mary, seeing them, lost her composure and began to laugh uncontrollably as the two stood there in stoic silence. Regaining her composure, she directed them to their respective chairs in front of music stands, had them take out their violins, and the lesson began. Not only was she respected by these two men but also by all the children and young people in her academic care.Having completed her undergraduate and graduate studies, Mary maintained an intense interest in learning, especially in philosophy and neuroscience with a focus on concepts such as thought, imagination, emotion, movement, space, and time. She was fascinated by the relationship between the performer and the audience, with respect to emotion, images, and imagination. Research for her doctoral dissertation, which she titled, “Images of Imagination: A Philosophical Study of Imagination in Music with Application to Music Education,” is reflective of her interest and research in the neuroscience field. Mary was awarded the Dean’s Dissertation Prize, Indiana University and awarded first place in 1991 Outstanding Dissertation in Music Education, national competition sponsored by the Council for Research in Music Education.In 1991, Mary accepted a position in the Department of Music, University of Louisiana, Lafayette where she taught undergraduate and graduate students. She served as advisor to graduate students in the music education concentration as well as serving on students’ dissertation committees. Her commitment to students was exemplified by her availability, in spite of other commitments to the University and music community beyond the university. The fruits of her professorial activity were evident in graduating students obtaining teaching positions in Lafayette, Vermillion, and Iberia parishes.In an effort to promote the music program and recruit students, she maintained a strong connection with area music teachers. This relationship served to [End Page 90] foster and facilitate high school students... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:“Destined to Fail”: Carl Seashore’s World of Eugenics, Psychology, Education, and Music by Julia Eklund KozaJune Boyce-TillmanJulia Eklund Koza, “Destined to Fail”: Carl Seashore’s World of Eugenics, Psychology, Education, and Music (Ann Arbor, MI: University of Michigan Press, 2021)This is a difficult book to read not only because of its length but also its content. While reading the history of eugenics and how it played out in the (...) invention of the holocaust, I found myself feeling the nausea that I similarly feel when embarking on Margaret Attwood’s Handmaid’s Tale. I also remembered how I had used the Seashore tests of musical ability in my time teaching in London primary schools. I was faced with a common problem in UK State schools–three places for violin tuition and twenty children seeking them. The Seashore tests appeared to be the answer to the problem. The claims made for them were that they would tell me which children were likely to succeed because they had more musical ability than others. It was only in the process of using them that I realized that this was an unjustified claim. Conversations with John Sloboda revealed two other aspects that might play out in musical success. One was a moment/event which made a person fall in love with a particular instrument and want to learn it. The other was the amount of time a person would put in to practice the instrument, which in many London contexts with high-rise flats and no soundproofing [End Page 83] was extremely difficult. All that the Seashore tests showed was the third aspect involved in engagement with music, which was the ability to recognize the musical patterns of a particular culture. But what this book shows us so clearly is the danger of rating this ability to grasp the musical patterns of the Western classical musical traditions as the totality of musical ability. Beneath this is the belief that some people are innately musical but, more significantly, others are not. In my experience, musicality is a difficult area in our UK culture; people are more likely to say that they are not musical in a way that they would not in relation to any other academic discipline such as English, geography or history. In many educational contexts, I have pointed out that, if a teacher believes that some students are musical and some are not, then it is unethical to have class music lessons for everyone in the curriculum. Helpfully, in the final chapter of the book, some of these shades from the past, that still color contemporary thinking about music education, are clearly set out.To turn to the book itself, the first chapter sets out Seashore’s life as a “Mendelian hereditarian who believed that musical talent is biologically inheritable, differently bestowed, and immutable.”1 The author contextualizes the belief system in which this is rooted, discussing the American Eugenics Society, the best baby contests, and the “great man” narratives of the early to mid-twentieth century (first set out in Galton’s idea of genius). Seashore’s legacy figures in a number of academic fields, including audiology, aesthetics, educational reform, the American Psychological Society, and the National Academy of Sciences. She hopes to initiate a debate about how eugenics has, and still does have, a part in stories of both music education and education generally. She situates her work in a view of “‘the past’ as a dynamic construct created and recreated in the present.”2 She sets up a different way of remembering the past by acknowledging that past, present, and future are culturally constructed and bounded, in which she uses Foucault’s concept of power.3 She considers the role of “solid” science in supporting both eugenics and its responsibility for the Holocaust. I would recommend that anyone embarking on historical musicology read this chapter to understand the complex mechanisms which need to underpin such study.My own academic research has been about deconstructing the patriarchal values that filled my own miseducation in music history. The legacy of Galton’s construction of genius dominated my music education and when I took my professorial... (shrink)