Kennedy shows that Plato gave his dialogues a similar musical structure, dividing each dialogue into twelve parts and inserting symbols at each twelfth to mark a musical note. These passages are either harmonious or dissonant and traverse the ups and downs of a known musical scale. Many of Plato's early followers insisted that Plato used symbols to conceal his own views within the dialogues, but modern scholars have denied this. Kennedy, an expert in Pythagorean mathematics and music (...) theory, is able to show that Plato's dialogues contain a system of symbols that are undetectable by those without knowledge of obsolete Greek mathematics. The book begins with a concise and accessible introduction to Plato's symbolic schemes and the role of allegory in ancient times. The author then annotates the musical symbols in two of Plato's most popular dialogues, the Symposium and Euthyphro, and shows that Plato used the musical scale as an outline for structuring his narratives. (shrink)

The article addresses the justification of music-structural claims, that is, any statements that assign a structure to a musical passage or a work. It is suggested that a theorist T is justified in making such a claim to the extent that (i) T is able to specify a rule that takes a given musical passage as its input and produces the claim as its output, (ii) T can explain what sorts of facts would render the use of such (...) a rule irrational in musical analysis, and (iii) T has no reason to believe in the existence of such irrationality-conferring facts. Such a view emphasizes the responsibilities of the analyst, but it also gives room for ample methodological pluralism. This is because the facts referred to in (ii) and (iii) may variously be physical, psychological, structural, or doxastic ones. There are thus several conceivable justificatory bases for musical analyses. (shrink)

The song of the northern mockingbird, Mimus polyglottos, is notable for its extensive length and inclusion of numerous imitations of several common North American bird species. Because of its complexity, it is not widely studied by birdsong scientists. When they do study it, the specific imitations are often noted, and the total number of varying phrases. What is rarely noted is the systematic way the bird changes from one syllable to the next, often with a subtle transition where one sound (...) is gradually transformed into a related sound, revealing an audible and specific compositional mode. It resembles a common strategy in human composing, which can be described as variation of a theme. In this paper, we present our initial attempts to describe the specific compositional rules behind the mockingbird song, focusing on the way the bird transitions from one syllable type to the next. We find that more often than chance, syllables before and after the transition are spectrally related, i.e., transitions are gradual, which we describe as morphing. In our paper, we categorize four common modes of morphing: timbre change, pitch change, squeeze, and stretch. This is the first time such transition rules in any complex birdsong have been specifically articulated. (shrink)

In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory (hereafter Musical Aristotelianism) is an attractive and serviceable hypothesis. However, it is overlooked as a genuine competitor to the more well-known theories of Musical Platonism and nominalism. Worse still, there is no detailed account in the literature of the nature of the universals that the Aristotelian identifies musical works with. In this paper, (...) I argue that the best version of Musical Aristotelianism identifies musical works with structural universals. I first motivate the view by outlining its explanatory benefits. I then argue that Musical Aristotelianism is preferable to Musical Platonism and present a novel account of musical works as structural universals by developing D. M. Armstrong’s theory of structural universals. I discuss the consequences of Musical Aristotelianism with respect to on-going issues in debates about musical works and defend the view against an influential objection, concluding that Musical Aristotelianism is a genuine competitor in debates about the nature of musical works. (shrink)

Cet ouvrage, composé de huit chapitres et de neuf appendices (qui contiennent des précisions utiles sur la méthode proposée), présente une thèse originale et controversée selon laquelle une structure musicale sous-tend les dialogues platoniciens, et en permet une plus riche compréhension. J. B. Kennedy s'appuie sur deux dialogues, le Banquet et l'Euthyphron pour la démontrer. Avant d'introduire sa méthodologie, il prend soin de tracer l'origine de ce type d'interprétation pour en défendre la pertinence. (…) - 12. Plato 12 (2012).

When examining how emotions are evoked through music, the role of musical expectancy is often surprisingly under-credited. This mechanism, however, is most strongly tied to the actual structure of the music, and thus is important when considering how music elicits emotions. We briefly summarize Leonard Meyer's theoretical framework on musical expectancy and emotion and cite relevant research in the area.

Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, showing that music cognition (...) research provides insight into the understanding of not only music processing but also language processing and the processing of other structured stimuli. The hypothesis of shared resources between music and language processing and of domain-general dynamic attention has motivated the development of research to test music as a means to stimulate sensory, cognitive, and motor processes. (shrink)

Most scholars have not assigned much interpretive importance to the specific use of the term ‘persuasion’ in the cosmology of Plato’s Timaeus. This paper suggests understanding cosmological ‘persuasion’ in conjunction with ‘force,’ another trait of divine agency in the Timaeus. It analyses the nature of intelligent causation in the cosmology of the Timaeus, particularly in the construction of the cosmic body and soul. Then, it gives a detailed characterization of the causation of necessity, appearing in the Timaeus in three different (...) versions, and relates it to the complex notion of intelligent agency. Ultimately, it claims that the cosmic music in the Timaeus, the primary agent of ordered causation in the cosmos, functions on two levels of conflict with the disorder of the sensible aspect of the world. (shrink)

This paper is about the dilemma raised against musical ontology by Roger Scruton, in his The Aesthetics of Music: either musical ontology is about certain mind-independent “things” and so music is left out of the picture, or it is about an “intentional object” and so its puzzles are susceptible of an arbitrary answer. I argue the dilemma is merely apparent and deny that musical works can be identified with sound structures, whether or not conceived as abstract (...) entities. The general idea is this: both Platonism and nominalism about musical works are a kind of fetishism: musical works are not “things”, in Danto’s sense of “mere real things”; they rather involve complex relationships between objects, events, and different kinds of functional properties. For this, I draw on Levinson and Howell’s notion of indication, combined with Searle’s approach to institutional reality... with a little twist of my own. (shrink)

This essay constructs a non-scientific analogy that can help to explain the nature and purpose of Kuhn's philosophical concepts, especially his notion of a scientific "paradigm". The non-scientific topic that is employed to achieve this result is the history of musical styles and the structure of musical compositions.

In lieu of an abstract, here is a brief excerpt of the content:Music Teacher Education in Japan:Structure, Problems, and PerspectivesMasafumi OgawaSchool music education in Japan is in a less than ideal situation. In April 2002, the new course of study was implemented by the Ministry of Education, Culture, Sports, Science and Technology (MEXT).1 The total number of music classes in the new curriculum was reduced to 33% of what it had been by the end of 2002. The reduction went from (...) two hours of music classes every week in grades one through nine to one hour in grades five through nine. This inevitably caused many problems. First, it became very difficult to teach music sequentially and instead music classes tended to be fragments of introductory experiences taught as disconnected activities. In this situation, it has been difficult for students to develop musical knowledge and skills. Second, the number of full-time music teachers was reduced greatly. It became common for a music teacher to teach at more than two schools in order to fill a full-time assignment. In some scenarios, many full-time music teachers were replaced with part-time teachers or teachers of other subjects. Music teachers have become disposable.Many music teachers are losing their effectiveness in the classroom. Students consider school music classes as a time to relax compared with other "intellectual subjects."2 They sometimes question music as an essential subject because they [End Page 139] do not value the developing skills that music requires or studying the theory of music. They believe that they can enjoy music outside of school anyway. Consequently, they are quite reluctant to participate in music classes and so behavioral problems arise and classroom management becomes more difficult. Some teachers attempt to force students to obey and force them to order; other teachers totally give up and let students behave as they like in class.3 In either case, teachers and students do not relate well to each other. It is not an exaggeration to say that school music in Japan is at risk of collapsing altogether and disappearing from the curriculum.One of the reasons for this, I believe, is that we have not wrestled with the fundamental problems of school music education until today. We might have intentionally avoided reviewing and criticizing the curriculum, expectations, and purposes of music education because it has been taboo to discuss the national standards, particularly for public school teachers to do so. Social and environmental conditions have changed greatly since the current system of Japanese education was established in 1947. It is obvious that the existing system does not match the new conditions.I strongly feel that it is time to review and reexamine what our pioneers of music education and the government had achieved in the field of music education. If we continue to avoid doing so, music in the schools will face serious consequences. In this paper, I discuss some of the fundamental issues of music teacher education in Japan. There are two reasons for focusing on music teacher education. First, starting with music teacher education is most important because music teachers have the most significant roles in school music education. Second, I have been engaged in music teacher education for seventeen years, and this is not only my research area but also an area in which, as an insider, I can offer direct insights. I will limit this essay to looking at the preparation of teachers in music for elementary and middle schools (grades 7 to 9).StructureThe course of study (COS) is a set of national curriculum standards for kindergarten, elementary, middle, and high school, and schools for the handicapped and is issued by the MEXT.4 All schools, public or private, are required to follow these standards. No other curriculum is allowed. Therefore, in Japan, the COS is law through which the government controls all educational actions. The COS was first issued in 1947 and has been revised seven times.5 The most recent revision was announced in December 1998 for kindergarten, elementary, and middle schools, and in March 1999 for the other levels. All schools in Japan were required to implement the revised COS by April 2002. [End Page 140]The COS of... (shrink)

This paper investigates the phenomenological status of musical affordances through a Gadamerian focus on human communication. With an extra emphasis on Reybrouck’s much-cited affordance-driven theory, I locate fundamental premises in the affordance concept. By initiating a dialogue with Gadamer’s perspective, I suggest a slight yet important shift of perspective that allows us to see an autonomous, transformative, and intrinsically active ‘ideality’ potentially emerging in music. In the final section, I try to demonstrate how Gadamer’s perspective is supported by recent (...) empirical studies on communicative musicality and child development, and allows us to see how protoversions of the transformative ‘ideality’ are already present at the beginning of human life. (shrink)

Musical knowledge is largely implicit. It is acquired without awareness of its complex rules, through interaction with a large number of samples during musical enculturation. Whereas several studies explored implicit learning of mostly abstract and less ecologically valid features of Western music, very little work has been done with respect to ecologically valid stimuli as well as non-Western music. The present study investigated implicit learning of modal melodic features in North Indian classical music in a realistic and ecologically (...) valid way. It employed a cross-grammar design, using melodic materials from two modes that use the same scale. Findings indicated that Western participants unfamiliar with Indian music incidentally learned to identify distinctive features of each mode. Confidence ratings suggest that participants' performance was consistently correlated with confidence, indicating that they became aware of whether they were right in their responses; that is, they possessed explicit judgment knowledge. Altogether our findings show incidental learning in a realistic ecologically valid context during only a very short exposure, they provide evidence that incidental learning constitutes a powerful mechanism that plays a fundamental role in musical acquisition. (shrink)

The article discusses the composition of Lysias’ speech, devoted to the history of music, in Pseudo-Plutarch’s treatise On Music. Close attention has been paid to the unifying mechanisms employed by Lysias to create the coherence and unity of the textual construction. The analysis of the speech presented in the article leads to the conclusion that the employment of clearly marked and coordinated two-part units became the most important technique of the organisation of this speech. The first part of each of (...) eleven pairs Lysias’ speech consists of includes quotations from earlier written sources, the second displays comments and interpreting remarks on these citations. This scheme of organisation of the speech provides the internal order and continuity of thought in the historical part of Pseudo-Plutarch’s work. (shrink)

E.T.A. Hoffmann invente la notion de structure pour décrire la forme musicale, lorsque, dans la célèbre recension de la Cinquième symphonie de Beethoven, il l’emploie pour défendre le compositeur contre les accusations de fantaisie débridée et d’imagination désordonnée. Mais est-ce à dire que l’écrivain romantique est un précurseur du structuralisme? Le langage musical a selon lui un sens spirituel qui ne se laisse pas réduire à l’analyse structurelle. Nécessaire à la pensée de la musique, la notion de structure est (...) néanmoins insuffisante car elle ne relève précisément que de la pensée langagière. La structure est une échelle pour s’élever au-dessus d’une écoute chaotique, mais dont il faut se débarrasser si on veut retrouver la signification de la musique. La pensée de l’art, du point de vue du romantisme hoffmannien, est aussi une autocritique de la pensée face à l’art. (shrink)

This text is a first attempt of approaching traditional music, musical/poetic structures and ethnographic research semiotically. The basic elements of traditional music, the musical/poetic structures with morphological types and formulas, musical and non-musical codes during a musical performance as well as the ethnographic research itself with its own “performances” constitute groups of “signs” and codes that, combined together, create complex frames of meanings and re-definitions not only among musicians and revelers but also among (...) ethnographers and their interlocutors and among ethnographic “texts” and their representations after multiple readings. This text presents elements that emerged after an enduring field research in Crete. The use of semiotics in the study of traditional music and musical analysis can constitute a useful analysis tool for ethnographic research from planning to composing ethnographic “texts”. This text highlights the necessity of initiating a dialogue concerning the aspects and perspectives of a semiotic approach to musicology and music ethnography. (shrink)

Bird songs often display musical acoustic features such as tonal pitch selection, rhythmicity, and melodic contouring. We investigated higher-order musical temporal structure in bird song using an experimental method called “music scrambling” with human subjects. Recorded songs from a phylogenetically diverse group of 20 avian taxa were split into constituent elements and recombined in original and random order. Human subjects were asked to evaluate which version sounded more “musical” on a per-species basis. Species identity and stimulus treatment (...) were concealed from subjects, and stimulus presentation order was randomized within and between taxa. Two recordings of human music were included as a control for attentiveness. Participants varied in their assessments of individual species musicality, but overall they were significantly more likely to rate bird songs with original temporal sequence as more musical than those with randomized temporal sequence. We discuss alternative hypotheses for the origins of avian musicality, including honest signaling, perceptual bias, and arbitrary aesthetic coevolution. (shrink)