Music has been seen since the Romantic era as the quintessentially temporal art, possessing a unique capacity to invoke the human experience of time. The Melody of Time explores the multiple ways in which music may provide insight into the problematics of time, spanning the dynamic century between Beethoven and Elgar.

ABSTRACT On the cusp of the Weimar Republic’s transition to the Nazi era the production and public reception of these works of music theater by Kurt Weill, Bertolt Brecht and Georg Kaiser embody the social and ideological conditions of the time and were founded on a critique of these same conditions. Weill’s and Brecht’s opera unfolds in a mythical place which serves as a parable for capitalist utopia/dystopia, Mahagonny being the emblematic city of dreams and disillusionment. Kaiser’s play, with music (...) by Weill, takes utopian longings as its subject in various ways, from petty bourgeois aspirations to liberation for the workers. Silbersee combines a sharp political allegory about the rise of Nazism with a symbolist drama about the promise of a better world. Using examples of Weill’s music this article will explore how these works dramatize Utopia as explicitly modelled content, represented desire and transformative agency. (shrink)

In a concert hall, the attitude of the audience focusses on the formalistic aspects of music. In religious rituals, music is a means of leading the hearer to a spiritual experience. What happens when music, meant originally for a liturgical purpose, is played in a concert setting? Gadamer shows, with his conception of Verwandlung ins Gebilde, that an art work is never static, but carries a depth in itself, which is connected to an artistic ingenuity throughout centuries. In this ‘depth’ (...) lies the connection to the listener, which is broader than a mere aesthetical one. On the other hand, music in itself has a strong ‘theatrical’ side, which can easily surpass its contemplative aspect in consumer culture. It appears that this aspect, in combination with the formalistic-aesthetic approach of modern museum culture, of which concert culture is a part, made the hearer become almost ‘deaf ’ to the religious content; because a concert practice focusses primarily on entertaining the hearer, s/he is not able to engage in the music as a source of spiritual edification of the soul. Nevertheless, Gadamer’s conception of play makes us be aware that there will always be new, unexpected ways in which the truth comes into being in the interaction of a piece of music and its hearer. In order to create such a reality, it is necessary to turn to new and renewing hearing practices, where the play between music and the hearer has a wider range of musical experience than the mere formalistic aspect. (shrink)

The article focuses on the prose works of several modern writers. All these works are united by the image of the musician and the motive of listening to the music. Thus, the music in the article is considered as an universal.First of all - problems of life and death, the main values of life, the opposition “sacred - infernal”. The purpose of the article is to investigate how the era of postmodern influenced the author's concept of music. In each of (...) the works the form of the narrative is subjective. As a rule, the reader gets acquainted with the act of self-reflection of the personage who is looking for a way out of the mazes of everyday life. Therefore, the impression of an author's absence is created. However, the picture of the personage’s inner life at the moment of experiencing his encounter with music helps to understand what the author's conception of the world is like. In each of the works - the tragic idea of the world as chaos, the unpredictability of reality dominates, so death is perceived as liberation. And on the boundary between “here” and “there”, “life” and “death” the person is accompanied by music. The authors of the article draw on such categories of narratology as the “point of view”, the “subject plan”, “elf-reflection”, as well as on analysis of the structure of the discourse and the structure of the narrative in it. (shrink)

The article examines some of the consequences of the migration of musical works in cyberspace, particularly with regard to their ways of being and the ways in which we listen to them. Streaming is interpreted as the last stage in the expansion of a phenomenon that arose with the advent of phonography, namely, the ubiquity and availability of the works. A new development consists in the production of musical units in modular terms: works can consist of independent parts, (...) which can be replaced or constituted, in an order that depends on the user, taking inspiration from the model of the playlist. The diffusion of works on the web has also facilitated the development of the remix practice, changing listening standards and generating new conceptual conflicts concerning the identity of the works. The web weakens the distinction between the medium of communication and the medium of recording. It also favors the formation of new cognitive dispositions and generates more flexible and interactive ways of listening, generally different from those implicated in the era of the disc. (shrink)

In this article, the formation and transformation of knowledge and the role of designs for learning will be elaborated and discussed in relation to the introduction of national curricula and school textbooks during the beginning of the industrialized era vs. the introduction of individual curricula and new digital learning resources in the post-industrialized era of globalization and multiculturalism. Quite different teaching and learning strategies have been emphasized, which I will call here “designed information and teaching” vs. “designs for learning”. It (...) seems obvious that our current society is in a stage of change that requires a new understanding of knowledge, learning and identity formation. The new position and role of the learner underlines the productive and constructive aspect of learning. Pupils not only read texts, they also produce texts, pictures, film and music and they compile and edit virtual texts. Multimodal texts, as well as the information flow of the Internet, are the consequences of, and at the same time a vehicle for, new social patterns. “Learning Design Sequences” (LDS) is introduced as a theoretical map for the purpose of analyzing critical incidents in (a creative) learning process, using different genres, modes and media in a process of meaning-making. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 2. © 2015 by Feminist Studies, Inc. 335 Rachel Lumsden “The Music Between Us”: Ethel Smyth, Emmeline Pankhurst, and “Possession” But limelight is bad for me: the light in which I work best is twilight. —Virginia Woolf to Ethel Smyth1 There are few composers who seemed to seek the glow of public limelight more than Dame Ethel Smyth (1858–1944). Smyth fearlessly forged a career for (...) herself as a professional composer in Britain during a time when female musicians were largely regarded as inferior to male musicians and lacked equal educational and professional opportunities. Smyth’s brazen personality was evident from her early years; as a teenager, she battled for two years to gain her father’s approval to travel to Leipzig to further her musical studies. Smyth’s struggle for acceptance as a composer continued throughout her career; she composed large-scale works—including six operas—at a time when women were expected to write “feminine,” small-scale compositions (such as solo piano pieces and songs), and she fought unrelentingly to have her music performed. Throughout her career Smyth faced a barrage of sexist criticism, in which she was consistently referred to as a “lady composer” and alternatively praised and derided for writing “masculine” music: if a 1. Virginia Woolf, letter to Ethel Smyth (August 21, 1932), in The Letters of Virginia Woolf, ed. Nigel Nicolson and Joanne Trautmann (New York: Harcourt Brace Jovanovich, 1979), 5: 97. 336 Rachel Lumsden critic liked her work, it would be lauded for its “masculine strength,” and if a critic didn’t like her work, it would be admonished for exceeding the bounds of female propriety.2 Yet Smyth rarely flinched from battles. A defiant and prolific writer, Smyth also published an exhaustive array of books and memoirs: Impressions that Remained (1919), Streaks of Life (1921), A Three-Legged Tour in Greece (1927), A Final Burning of Boats (1928), Female Pipings in Eden (1933), Beecham and Pharaoh (1935), As Time Went On (1936), Inordinate (?) Affection (1936), Maurice Baring (1938), and What Happened Next (1940), using her literary works as a means of bringing her own experiences into the limelight. By chronicling the oppression and discrimination she consistently faced, she sought not only to draw attention to herself as a composer—whose works, in her mind, had been consistently and unjustly neglected by the public—but also to highlight the plight of female musicians in general. Smyth’s literary works are wide-ranging and cover a host of different subjects, including recollections about her own life, biographical portraits of close friends, excerpts from letters, reviews of her musical compositions, and her forthright opinions about women’s rights. A number of scholars have explored these different aspects of Ethel Smyth’s fascinating artistic career; however, most research on Smyth has focused either on her literary endeavors or her compositions. What is missing is a thoroughgoing analysis of the connections between the two. One exception is Elizabeth Wood, who has brilliantly discussed Smyth’s writings and music; however, many details of Smyth’s vast array of musical works still remain largely unexplored.3 This article examines 2. Smyth’s operas include Fantasio (1892–1894), Der Wald (1899–1901), The Wreckers (1902–1904), The Boatswain’s Mate (1913–1914), Fête Galante (1921– 1922), and Entente Cordiale (1923–1924). For more information about Smyth and the status of female musicians in Britain during this era, see Jane A. Bernstein, “‘Shout, Shout, Up with Your Song!’ Dame Ethel Smyth and the Changing Role of the British Woman Composer,” in Women Making Music: The Western Art Tradition, 1150–1950, ed. Jane Bowers and Judith Tick (Urbana: University of Illinois Press, 1986), 304–24; and Eugene Gates, “Damned If You Do and Damned If You Don’t: Sexual Aesthetics and the Music of Dame Ethel Smyth,” Journal of Aesthetic Education 31, no. 1 (Spring 1997): 63–71. 3. See Elizabeth Wood, “Performing Rights: A Sonography of Women’s Suffrage,” The Musical Quarterly 79, no. 4 (Winter 1995): 606–43; and Elizabeth Rachel Lumsden 337 a small, specific slice of Smyth’s oeuvre: her 1913 song “Possession,” dedicated to Emmeline Pankhurst (“E.P”), her friend and leader of... (shrink)

Inventors in the age of the Enlightenment created lifelike androids capable of playing music on real instruments. _Music and the Forms of Life_ examines the link between such simulated life and music, which began in the era's scientific literature and extended into a series of famous musical works by Haydn, Mozart, and Beethoven. Music invented auditory metaphors for the scientific elements of life (drive, pulse, sensibility, irritability, even metabolism), investigated the affinities and antagonisms between life and mechanism, and explored (...) questions of whether and how mechanisms can come to life. The resulting changes in the conceptions of both life and music had wide cultural resonance at the time, and those concepts continued to evolve long after. A critical part of that evolution was a nineteenth-century shift in focus from moving androids to the projection of life in motion, culminating in the invention of cinema. Weaving together cultural and musical practices, Lawrence Kramer traces these developments through a collection of case studies ranging from classical symphonies to modernist projections of waltzing specters by Mahler and Ravel to a novel linking Bach's _Goldberg Variations_ to the genetic code. The publisher gratefully acknowledges the generous support of the AMS 75 PAYS Fund of the American Musicological Society, supported in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. (shrink)

Education ecology is a new crossover research field in network age. Its research content can be either microscopic classroom teaching or macro educational ecology research on teaching and culture. The university music classroom is a special kind of ecology. The reason why this is special is that compared to natural ecology, the classroom ecology of university music has a unique relationship between the environment and the subject. The classroom is ecological and becomes the logical prerequisite for ecological research in the (...) classroom. In the Internet age, as the most advanced teaching medium, it has become the need for the development of the new era. The Internet era has broadened the channels and scope of people's access to information and greatly enriched the information resources. The design of teacher's music teaching should have sustainable development. It is no longer a pursuit of only the answer. It must consider the students' multiple ways of learning and must leave room for students to practice independently. Guides help students continue to explore musical arts. This article mainly conveys the innovation of the traditional teaching “learning” and “learning” dichotomy to form an interactive and harmonious classroom ecosystem. The interaction between various factors has handled according to the principles of educational ecology, combined with the development of network technology and Cultivate students' enthusiasm for learning, self-study ability and practical ability, to improve the effectiveness of university music teaching. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 485-494 [Access article in PDF] Art of the Piano Denis Dutton CHARLES ROSEN is so familiar to readers as an acute music theorist and historian of European ideas and literature that it is easy to forget that he is one of most stimulating and compelling pianists of the last fifty years. In Piano Notes: The World of the Pianist (Free Press, $25.00), he combines (...) his intellectual and musical gifts to take stock of his profession as concert pianist. The result is engaging, insightful, and for lovers of piano artistry, not a little disturbing.The piano, in case no one has noticed, is in steep, serious decline. My piano tuner, Adam Linning, began his career in Glasgow. He worked for the largest piano retailer in the city: it had seventeen tuners on the road in 1954, the year Glaswegians first got television. By 1959, when he left for New Zealand, there were three other tuners working with him. Adam explains the decline in terms of Glasgow apartment space. The piano and the TV had to share the living room, and so long as the room flickered with gray-blue light, the piano had to remain silent.People used to gather around and sing together at the piano—in my childhood experience, any group of a dozen middle-class adults would contain at least one competent sight-reader who could play, if not Beethoven, then Christmas carols, reductions of Your Hit Parade songs, or scraps of boogie-woogie. This meant that there was abroad in the land a critical mass of amateur pianists who knew enough about music literature, notation, and performance to constitute a core audience for the piano masters of the day—Horowitz, Rubinstein, Arrau, Cherkassky, and the like—and who also had an appreciation of jazz greats such as Art Tatum.The decline in the number of amateur pianists, people with knowledgeable admiration of piano playing, has tracked the decline of the [End Page 485] piano virtuoso as classical star. Recording too has played a role in these changes. I doubt that there was a greater love of classical music fifty years ago than now. But attendance at live performances of anything is no longer required in order to attain familiarity with repertoire. Recording, particularly from the LP era on, enormously enlarged general knowledge of the musical literature: people who a hundred years earlier would have been lucky to hear three Haydn symphonies or two Handel operas in a lifetime can now, no matter where they live, listen to them all. Recording did to music something like what the Roman alphabet and moveable type did for news and literature: it enabled the universal dispersal of all of music's products, the worst to the best. For years professional musicians tended not to appreciate this. While it is true that there are fewer people about who can actually play Scarlatti sonatas, that has to be balanced against the agreeable fact that knowledge of these small masterpieces is no longer limited to the fifty or sixty included in early editions, from which was derived the same two dozen that we would hear from pianists over and over. Now we can hear all 550+, and learn about them for ourselves (Arts & Letters Daily even links to a website where you can find any Scarlatti sonata in seconds, click on it, and listen.)This is a big change. Keyboard virtuosity goes back a long time, even before Bach, although it was Liszt, as inspired by Paganini, who gave the piano its first real idol. Enter Edison a few decades later, and with his appearance it became possible for people to joke, "The only instrument I play is the phonograph." If there are fewer pianists able to make a living performing the classical repertoire today, it is because a world of mostly non-pianists that is oversupplied with CDs just doesn't need them all, either to hear the playing or enjoy the music.A notable aspect of Charles Rosen's regard for piano playing is that he conveys no dewy-eyed nostalgia about... (shrink)

This paper considers the issue of musical improvisational interactions in the digital era by pursuing the following three steps. 1) I will raise the question of the meaning and value of liveness, and in particular of live musical improvisation, in the age of the internet and discuss some effects of the so called digital revolution on improvisation practices. 2) Then I will suggest that the interactions made possible by the web can be understood as kinds of live improvisational (...) practices and I will briefly outline how such practices also involve musical improvisation. 3) Finally, I will focus on some aesthetic and philosophical aspects of new kinds of live improvisation made possible by recent progress in artificial intelligence research. (shrink)

This book is designed to demonstrate that "the bibliography of philosophy has not emerged directly from a barbaric past; it has a long history...". It begins with the first known printed bibliography, that of Frisius in 1592, and works its way methodically to 1960. By sketching the contents and divisions of these bibliographies, Jasenas provides us with evidence of what philosophers of different eras took philosophy to be. Some bibliographers were professional philosophers and some were not. But it is clear (...) that those who were not philosophers generally consulted philosophers in preparing their bibliographies. Particularly interesting is the way in which Jasenas ties a given bibliography to the cultural, intellectual, social, political and even musical happenings of the day. This is especially the case when he offers an explanation for the absence of one or other book in a given bibliography. He is careful to note the religious and philosophical preferences of the bibliographer. Granted there is a good deal of speculation and likely guesswork on Jasenas’ part, his suggested explanations give to his book an importance which it would have lacked without them. (shrink)

The article examines the situation that has developed in the contemporary age and being named differently: postmodernism, post-postmodernism, digital modernism, metamodernism, etc. It is noted that, despite the difference in naming, all the terms indicate a global crisis of culture and man. The three most important signs of this crisis are identified: degradation of a man – the predominance of his animal nature; total technicism; oblivion of national traditions, sacred things. These features are briefly explained. It is concluded that the (...) basis of these signs is the loss of human spirituality. It is stated that music has extraordinary opportunities to elevate the spiritual needs of a person. It is emphasized that these opportunities contributed to the strengthening of the impact of religious practices within various worships – shamanism, Zoroastrianism, Sufism, and others, which ensured the maintenance of the humanity of the world. It is believed that the use of spiritual-creative possibilities of music will help overcome the existing global crisis and prepare the formation of the era of culture and man, the era called a New Humanism by M. Eliade. It is argued that there are composers in Russia and in other countries today who purposefully use the spiritual-creative potential of music in their work to overcome the crisis that has arisen. We offer an interview with one of them – Russian composer Dmitry Stefanovich. In conclusion, it is noted that the following articles will continue to analyze the processes taking place in contemporary culture, and, in this regard, there will be presented stories about music and interviews with composers from Russia and other countries. (shrink)

Resumo: A filosofia contribui significativamente para a herança do pensamento humano e do espírito humanista. As explorações tradicionais da filosofia, geralmente racionais e abstratas, podem ter dificuldade em se envolver profundamente com as emoções e experiências humanas. Este artigo investiga a expressão de ideias filosóficas, por meio da música vocal, especialmente durante a era romântica, para preencher essa lacuna. Ao examinar a integração de conceitos filosóficos, nas composições vocais do século XIX, o estudo destaca como a música vocal pode servir (...) como um meio potente para o discurso filosófico. O estudo explora a relação simbiótica entre a música vocal e a filosofia, analisando como as árias expressam e perseguem questionamentos filosóficos. Esta pesquisa avalia o papel da música vocal na exploração filosófica, através de três dimensões: expressão emocional, comunicação conceitual e impacto inspirador. As descobertas visam a demonstrar o poder transformador da música, para transmitir pensamentos filosóficos, inspirando uma contemplação mais profunda da vida, da existência e dos valores, além de incentivar uma reavaliação da capacidade única da música vocal de comunicar ideias profundas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.2 (2004) 126-138 [Access article in PDF] Music Education for the Twenty-First Century A Philosophical View of the General Education Core Anthony J. Palmer Boston University We are all one species with one brain and neural system, yet consciousness about our existence is highly contextual. Any culturally transcendent view will still be limited to one's personal experience, analytical capabilities, and cultural shaping. Nevertheless, looking (...) beyond our narrow perspectives is essential if we are to find commonality and compatibility with all humankind.Therefore, I find it incumbent that we, as college/university professors, examine our present culture-national and global-to ascertain current conditions and what positive roles each citizen may be able to play on the larger stage of world affairs. Musician-teachers, who are the products of the curriculum, should not be exempt from the responsibilities of contributing solutions. Rather, they should produce a program that is sensitive to the larger context in which we all reside. To be sure, we have no direct control over global events. We do, however, exercise at least a modicum of control over the kind of person emerging from our courses of study.In light of the foregoing, this paper will examine (1) the present global conditions with which we are confronted, (2) responsibilities of the college/university [End Page 126] faculties toward developing students with greater awareness, (3) examination of the general education that all baccalaureate students must satisfy for the degree, (4) the education within the general education courses with a focus on the music education student, and (5) a proposal on general education. The Present Context Today we are at a juncture where no one can predict the future with any assurance of accuracy. The world in the twenty-first century has taken an unexpected turn toward greater chaos and has the potential to end life as we have known it in previous centuries. Although earlier generations experienced many changes and watershed moments, the conditions were never potentially as cataclysmic as they are today because of the explosive power of our so-called defensive weapons. In addition, fed by technology, the pace of change is extremely rapid and multiplies exponentially. Robert Wright states in this regard, Neither biological evolution nor human history is a smooth, steady process. Both pass through thresholds.... To some people, the current era has the aura of a threshold; it has that unsettling, out-of-control feeling that can portend a major shift. Technological, geopolitical, and economic change seem ominously fast, and the fabric of society seems somehow tenuous.1He goes on to say, World currency markets are rocked by the turbulent force of electronically lubricated financial speculation. Weapons of mass destruction are cultivated by rogue regimes and New Age cults. Nations seem less cohesive than before, afflicted by ethnic or religious or cultural friction. Health officials seriously discuss the prospect of a worldwide plague-the unspeakably gruesome Ebola virus, perhaps, or some microbe we don't yet know about, spread around the world by jet-propelled travelers. Even tropical storms seem to have grown more intense in recent decades, arguably a result of global warming.2The foregoing was written in 2000, well before the devastating events of September 11 and subsequent human-initiated disasters, yet it still rings true. Where are we heading? What is our future with a world torn by terror, the continual development of more destructive weapons, and a seeming lack of desire to ameliorate our differences in a peaceful manner? Add to these the inexorable advance of technology that seems to know no end. It is most likely that the world in 2050-perhaps even as early as 2025-will not be recognized by our present population, assuming that we do survive as a civilized world.Of course, the outlook is not exclusively bleak and the continued development of technology is not all on the debit side of the ledger. Advances made in [End Page 127] medicine portend the re-growing of brain cells, repair... (shrink)

The essays in this 1987 volume are concerned with ideas of contrarity and other kinds of polar opposition in French literature of the eighteenth century. Originally these ideas were merely part of an impulse to undermine the establishment, but as the century progressed the desire to invert social values and question accepted norms merged with the main groundswell of the age to form part of the movement of Revolution. Professor Rex considers some of the major writers of the period: Diderot, (...) Rousseau, Voltaire, and Beaumarchais. He also explores minor genres such as opéras comiques, theatrical parodies, and erotic or pornographic pieces; these have been largely forgotten, but in their time they imbued the creative life of the era with vitality. In treating the literature in relation to the other arts, especially painting and music, these essays will be of interest to scholars of all aspects of eighteenth-century French culture. (shrink)

The Tang Dynasty (618–907) stands as a pinnacle of cultural, artistic, and spiritual flourishing, with its music and dance embodying profound metaphysical, religious, and philosophical dimensions. Beyond their aesthetic appeal, these art forms served as mediums for spiritual expression, ritualistic practice, and intercultural religious dialogue, particularly along the Silk Road. However, the challenge of revitalizing Tang Dynasty music and dance in contemporary times requires reconciling historical traditions with modern sensibilities, integrating religious and philosophical reflections, and leveraging innovative technologies to enhance (...) their spiritual resonance. This study explores the philosophical and religious significance of Tang Dynasty music and dance within the framework of the Belt and Road Initiative (BRI), emphasizing their role in fostering intercultural exchange, sacred aesthetics, and ethical values. A qualitative research approach is employed, incorporating historical analysis, case studies, and cultural hermeneutics to examine how these ancient art forms can be revitalized while retaining their transcendental and ritualistic essence. Drawing from Buddhist, Daoist, and Confucian influences embedded in Tang Dynasty artistic traditions, this research highlights how these performances once served as vehicles for divine worship, meditative practice, and moral education. Methodologies include the integration of virtual reality (VR) and augmented reality (AR) to create immersive spiritual experiences, the fusion of traditional music and dance with sacred narratives, and the use of interactive storytelling to preserve religious symbolism. Case studies, such as the immersive encounter at Chang’an Twelve Hours and the evolution of Imitation Tang Music and Dance, exemplify how these innovations can restore the spiritual and philosophical depth of Tang-era performances. This study concludes that interdisciplinary collaboration and international partnerships can play a crucial role in sustaining the spiritual and cultural legacy of Tang Dynasty music and dance. By embedding these art forms within the broader discourse of religious aesthetics and philosophy, their revitalization can contribute not only to cultural preservation but also to the enrichment of contemporary spiritual thought in a globally connected world. Future research should further explore the role of sacred music and dance in interfaith dialogue and their potential to inspire a renewed understanding of religious and philosophical traditions. (shrink)

Introduction : normative aesthetics and artistic value -- Culture and artistic value -- Cultural exclusion and the definition of art -- Defining art, defending the canon, contesting culture -- The aesthetic and the artistic -- From beauty to art : developing Kant's aesthetics -- The scope and value of the artistic image -- Distinctive modes of imaging -- Twofoldness : pictorial art and the imagination -- Between language and perception : literary metaphor -- Musical meaning and value -- Eternalizing (...) the moment : artistic projections of time -- Conclusion : the status and future of art. (shrink)

The problem of interpreting music’s function or role is scrutinized by grounding music’s significance through a selected reading of Platonic philosophy and a reinterpretation of the concept of “pharmakon” familiar to ancient Greeks, and in particular, the Athenians. Views on both mousike and the artistic practice of music in that era are taken into account. The “pharmakon” is analyzed through a concept of love as a harmonizing force and a variety of contexts are explicated, showing that it concerns any object (...) that gives rise to beneficial and detrimental effects. It also changes mental states or the manner of thinking in such a way that the value of the pharmakon is undecidable a priori and dependent upon an axiology of anticipation. Plato’s metaphysics and philosophy of music can be read to show that music can be both a poison and a remedy in regard to the ways it is used, which is analogous to drugs, medicine, or technological entities such as writing. In this context attention is given to the problem of mania, and how music can be both a force that gives rise to such a condition as well as a technique of alleviating it, since it is a tool for manipulating the intrapsychic dialogue of the embodied soul. -/- Znaczenie muzyki w nawiązaniu do Platona i pojęcia „farmakon" Problematyka interpretacji funkcji lub roli muzyki jest badana poprzez ugruntowanie znaczenia muzyki w wybranych wątkach filozofii Platona i reinterpretacji pojęcia „farmakon” bliskiego starożytnym Grekom, a zwłaszcza Ateńczykom. Uwzględnia się poglądy zarówno odnośnie mousike jak i ówczesnej praktyki artystycznej. „Farmakon” analizowany jest poprzez koncepcję miłości jako harmonizującej siły oraz przez różne konteksty, które są wyeksplikowane, aby wskazać na to, że dotyczy jakiegokolwiek przedmiotu, który powoduje korzystne jak i szkodliwe efekty. Zmienia także stany umysłowe lub sposób myślenia tak, że wartość farmakonu jest nierozstrzygalna a priori i powiązana z aksjologią antycypacji. Metafizyka i filozofia muzyki Platona może być czytana w sposób ukazujący, że muzyka może być zarówno trucizną jak i środkiem zaradczym, w zależności od formy jej użytkowania, co jest analogiczne z narkotykami, medycyną i technicznymi bytami takimi jak pismo. W tym kontekście zwraca się uwagę na problem szału i tego, że muzyka może być zarówno siłą, która wywołuje ów stan, jak i środkiem załagodzenia go, ponieważ jest ona narzędziem manipulacji intrapsychicznego dialogu ucieleśnionej duszy. (shrink)

_How does a man who once adored music beyond measure come to revile it as a form of tyranny?_ Throughout Pascal Quignard’s distinguished literary career, music has been a recurring obsession. As a musician he organized the International Festival of Baroque Opera and Theatre at Versailles in the early 1990s, and thus was instrumental in the rediscovery of much forgotten classical music. Yet in 1994 he abruptly renounced all musical activities. _The Hatred of Music_ is Quignard’s masterful exploration of (...) the power of music and what history reveals about the dangers it poses. From prehistoric chants to challenging contemporary compositions, Quignard reflects on music of all kinds and eras. He draws on vast cultural knowledge—the Bible, Greek mythology, early modern history, modern philosophy, the Holocaust, and more—to develop ten accessible treatises on music. In each of these small masterpieces the author exposes music’s potential to manipulate, to mesmerize, to domesticate. Especially disturbing is his scrutiny of the role music played in the concentration camps of Nazi Germany. Quignard’s provocative book takes on particular relevance today, as we find ourselves surrounded by music as never before in history. (shrink)

This article explores the continuities and discontinuities of pre-Revolutionary intellectual traditions in 1920s Soviet culture and the Stalin-era cultural revolution. Through examination of the pre-revolutionary philosophical legacy underpinning Soviet musicological theory, I demonstrate that there are decisive features, such asSoviet Prometheanism, that characterize the musicology of the 1920s that both underline and differ from the pre-revolutionary philosophy of music and the musicology of the 1930s. I offer the basic outlines of aSoviet cultural theory of musicformulated by Russian music critic, historian, (...) composer and musicologist Boris Asafiev (1884–1949) in the 1920s. Explaining and describing what I mean by a particular cultural theory of music in the Soviet context forms the core issue of my article. (shrink)

Does it make sense to refer to bird song - a complex vocalization, full of repetitive and transformative patterns that are carefully calculated to woo a mate - as art? What about a pack of wolves howling in unison or the cacophony made by an entire rain forest? Redefining music as "the art of possibly animate things," Musical Vitalities charts a new path for music studies that blends musicological methods with perspectives drawn from the life sciences. In opposition to (...) humanist approaches that insist on a separation between culture and nature--approaches that appear increasingly untenable in an era defined by human-generated climate change--Musical Vitalities treats music as one example of the cultural practices and biotic arts of the animal kingdom rather than as a phenomenon categorically distinct from nonhuman forms of sonic expression. The book challenges the human exceptionalism that has allowed musicologists to overlook music's structural resemblances to the songs of nonhuman species, the intricacies of music's physiological impact on listeners, and the many analogues between music's formal processes and those of the dynamic natural world. Through close readings of Austro-German music and aesthetic writings that suggest wide-ranging analogies between music and nature, Musical Vitalities seeks to both rekindle the critical potential of nineteenth-century music and rejoin the humans at the center of the humanities with the nonhumans whose evolutionary endowments and planetary fates they share. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

The way of our living and working has changed intensely throughout the past half-century. The era we live in is interlinked with rapid technological changes, paving the way for digitalization. The students are considered digital natives and are expected to have e-learning abilities to improve their academic effectiveness. However, digital readiness is an important factor that can play a valuable role in boosting students’ e-learning abilities and satisfaction. The previous studies of students’ e-learning abilities revealed the lack of students’ digital (...) readiness for academic achievements. Therefore, the present study aims to examine the role of digital readiness in the e-learning satisfaction of students. Based on the theory of motivation, the present study attempts to check the association of digital readiness with e-learning satisfaction. The current study also determines the relationship of digital readiness with entrepreneur psychological capital. Further, this study examines the correlation of entrepreneur psychological capital with e-learning satisfaction. The present study also assumes the mediating role entrepreneur of psychological capital and moderating role of mindfulness. For empirical analyses, this study gathered data from 376 music learning students of entrepreneur training institutes in China through a structured questionnaire method using a convenient sampling technique. This study applied partial least square structural equation modeling for empirical analyses using Smart PLS software. The present study confirmed that digital readiness positively correlates with e-learning satisfaction and psychological capital. The findings also acknowledged that psychological capital positively enhances e-learning satisfaction. The results also confirmed that psychological capital mediates the association between digital readiness and e-learning satisfaction. However, the outcomes revealed that mindfulness does not moderate the association between digital readiness and e-learning satisfaction. On the other hand, the findings acknowledged that mindfulness moderates the relationship between psychological capital and e-learning satisfaction. In addition, this study’s findings also serve the literature by providing important theoretical and practical implications. This study points out that digital readiness is an important antecedent to increasing students’ learning satisfaction and performance. The findings also suggest that students’ mindfulness could play a bridging role in enhancing their performance. (shrink)

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

Upon abolition of the sultanate, proclamation of the Republic, and termination of the seemingly existing caliphate position, the 1921 Constitution was replaced with the 1924 Constitution, which would remain in full force until 1961. It is observed that as a result of all such consecutive developments, the no. 677 Law on Preclusion and Abolition of Lodges, Zawiyahs, Tomb Keepers and Some Titles, which had been presented to the assembly with a bill prepared by Refik Koraltan, a member of the parliament (...) from Konya province, along with his friends, accepted in November 30th, 1925 and published in the official gazette in December 13th, 1925, interrupted, in general, the religious Turkish music; and in particular, the music of Mevleviyeh and Bektashism cults -lodge/dervish music- during the production stages, which has been determined to be directly connected with the following problems to be dealt with, and which will constitute the focus of our study. Therefore, our "Music Policies in Turkish Single-party Era: Religious Music Example" titled study, as mentioned above, has been the subject of the research concentrated around especially the no. 677 Law came into force in December 13th, 1925, accepted with a bill, within the scope of transitions paving the way for the proclamation of the republic, and legitimacy of various revolutions implemented, and it is important that the effects of the political mobility experienced in our country between 1923 and 1950 during the single-party era on our society, and the extent of such effects on the music life, in particular Turkish religious music education, culture and art in our country can be observed and evaluated. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Search of the Sense and the Senses:Aesthetic Education in Germany and the United StatesAlexandra Kertz-Welzel (bio)The dream that art is able to humanize human beings is very old. One person fascinated by this idea claimed:The creative artist educates and perfects through his work the nation's capacity for appreciation, just as conversely the general feeling for art thus developed and sustained creates the fruitful soil which is the condition (...) for the birth, the growth, and the activity of creative forces.1The author asserted that art has educational power and is able to improve appreciation as well as activate creative energy. Art is a way to transform the individual through its aesthetic power.Although these ideas sound similar to some approaches in arts education, this quotation does not represent the ideas of an art educator or a music educator. It is a quotation from one of the most powerful and most dangerous believers in the transforming power of art and music, in particular—Adolf Hitler (1889-1945). His ideology matched perfectly with the ideas of German music education in the 1930s, and therefore music education was a significant part of the school curriculum during the Third Reich. One of the most tempting ideas for music educators is the claim that music is capable of transforming human beings and their society.The idea of the educational power of music starts at least with Plato. Since the 1950s, aesthetic education has emphasized the aesthetic value and educational power of music. The German and the American concepts of aesthetic education are significantly different, but as a result of historical developments, they also share some similarities.The main intent of this paper is to analyze crucial issues of aesthetic education that exist in Germany and the United States. By comparing the two approaches, some core issues of music education will also be revealed in terms of idealistic dreams that are intent on making the world a better place [End Page 102] through music. This leads to some interesting insights concerning the significance but also the ambiguity of art for societies.The Roots: Ancient Greece, Schiller, and Holistic DreamsThe origin of the term aesthetics can be found in the Greek word aisthesis, which means perception through the senses.2 This meaning of aisthesis is originally not related to art. It concerns all kinds of sensations through seeing, hearing, touching, smelling, and tasting. In Greek philosophy, aisthesis as a way of experiencing the world through the senses is opposite to cognition in terms of an intellectual way of realization, the theoria. But given that art is something one can perceive through the various senses, aisthesis also concerns art.Most theories of aesthetic education refer to the ancient Greek idea of music, the musiké, which is a unity of music, dance, and literature. Plato emphasized the educational power of music and its effects on character development: "Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul.... "3 Since music is so powerful, the correct use and the correct kind of music are important. According to Plato, art is a way to learn about truth and ideas through beauty. But art is also dangerous, because the senses "lie" and art is only an imitation of truth. For Plato, the senses are not as clear as the intellect.Plato's concerns about the ambivalence of sensorial perception are typical for the way aisthesis and aesthetics have been understood throughout the history of philosophy. The tension between a "true" intellectual approach to knowledge and an inferior approach through the senses is one aspect of the well-known mind-body dichotomy.During the eighteenth century, the era of enlightenment, Alexander Baumgarten (1714-62) introduced the term aesthesis into the philosophical discussion.4 In his book Aesthetica (published in 1750), he attempted to justify sensorial perception and emotions as a unique way of understanding the world. Baumgarten was not interested in the arts at all and tried to establish aesthetics as the science of sensuous cognition in order to improve the sensuous capacity for cognition. Immanuel Kant (1724-1804) was the... (shrink)

The article considers the ideas of the national spirit expressed in a kind of literary work by the great Russian composer and thinker of the twentieth century, Georgy Vasilyevich Sviridov (1915–1998), in the book “Music as Destiny” (2nd ed., revised and expanded. M.: Molodaya Gvardiya, 2017. 795 p.). The notebooks of “Various recordings” have rightly become a revelation for his fans, the musical community and a wide readership, revealing the secrets of the soul and the mind of the thinker. (...) The book itself has become a special document of the bygone Soviet era, its spiritual culture, the importance and rele­vance of which will only increase with time. In his “ephemeral” writings, the author man­aged to reflect something more than just his time. He looked far ahead and became an ex­ponent of the national spirit of the Russian people. In the conditions of a sharp decline in the level of culture, morality and humanity, the honest voice of a thinker in defence of the priority of moral choice and sincere human participation becomes truly prophetic. It sounds like a prophetic bell in defence of goodness, justice and life on Earth. Underes­timating culture’s role in society’s life, in forming its spiritual basis, is still having ad­verse effects today. For too long, culture has remained on the periphery. It has been seen as something secondary. Too often in recent decades, culture has been left to busi­nessmen, who have imposed on society a borrowed image of the “right” way to live. This image is alien to local traditions, historical experience and the values of multinational Russia. However, in the absence of an official ideology, culture, as the spiritual core of all peoples and social classes of the country, plays the role of the spiritual and values affir­mation of the new universal cultural identity of Russian society. It consolidates and pre­serves the spiritual community and integrity of this society, remaining as a common spiri­tual and value platform for the formation of the country’s future image. In such a si­tuation, culture is increasingly associated with the environment of the preservation and transmission of the spiritual heritage of the people. Recently, the world has been in the grip of a global instability, the adaptation to which has been a motive for the under­standing of losses and new discoveries. The world has begun to open up in a different way, and it has become clear how many mistakes have been made in the universal chaos, and how many tests still need to be passed in order to embark on the path that des­tiny has outlined for us. The thoughts of the prophet in his homeland, Georgy Vasilyevich Sviridov, became a guiding star for many people on the way to the understanding of the Motherland. (shrink)

Introduction : digital technology and popular music sound -- Making sense of digital spatiality : Kate Bush's eerie collage -- The instrument formerly known as the machine : hyper-accuracy and sonic richness in Prince's Kiss -- The rebirth of silence in the company of noise : Portishead going retro -- Cut-ups and glitches : Los Sampler's and Squarepusher's freeze and flow -- Seasick computers : microrhythmic manipulation in the era of endless undo -- Autotuned voices : alienation and brokenhearted androids (...) -- Popular music in the digital era. (shrink)

_How does a man who once adored music beyond measure come to revile it as a form of tyranny?_ Throughout Pascal Quignard’s distinguished literary career, music has been a recurring obsession. As a musician he organized the International Festival of Baroque Opera and Theatre at Versailles in the early 1990s, and thus was instrumental in the rediscovery of much forgotten classical music. Yet in 1994 he abruptly renounced all musical activities. _The Hatred of Music_ is Quignard’s masterful exploration of (...) the power of music and what history reveals about the dangers it poses. From prehistoric chants to challenging contemporary compositions, Quignard reflects on music of all kinds and eras. He draws on vast cultural knowledge—the Bible, Greek mythology, early modern history, modern philosophy, the Holocaust, and more—to develop ten accessible treatises on music. In each of these small masterpieces the author exposes music’s potential to manipulate, to mesmerize, to domesticate. Especially disturbing is his scrutiny of the role music played in the concentration camps of Nazi Germany. Quignard’s provocative book takes on particular relevance today, as we find ourselves surrounded by music as never before in history. (shrink)

In this paper, I examine the relationship between new technologies and listening, starting from a distinction between two different levels. The first concerns the role new technologies play in the “mere” reproduction and diffusion of music materials that are not necessarily classifiable in the category of the so-called “technological music”; the second concerns the listening modes unavoidably involved in the reception of a music product, due to its very nature. To this end I shall focus my attention on some elements (...) that characterize both music production and reception: historical development of the relationship between technology and music; technologically mediated non-live listening; technologically mediated live listening; ontological oscillation in a musical work of art following its digitalization. These are issues that also bring into play aesthetics in a developmental stage of this discipline, in which a philosophical reflection on technological music may contribute to formulate – as J. Demers wrote – «a theory that acknowledges the interconnectedness of aesthetics with culture and society». (shrink)

After a thousand years of feudal middle ages, the west entered a new era, namely the Renaissance, from the 14th century. With the influence of humanism on the cultural field, people's individuality consciousness has been released. Western pop music is a western art form with profound connotation and eternal value. In recent years, many scholars and music educators have carried out a series of research and popularization of western pop music. Through scientific methods, the students' ability to control pop music (...) can be transformed into the basic quality of solfeggio listening training, so as to achieve the combination of the advantages of pop music and serious music, so as to complete the interactive, concise and diversified solfeggio teaching and broaden new teaching ideas. The role and influence of religious songs on the development of western vocal music art is incalculable. Its value is reflected in various fields of vocal music art. Therefore, while singing and appreciating religious songs, we should also strengthen the study and research of their background and historical development. (shrink)

This paper discusses historical-critical thought to address the problems of restoration and preservation of tape music, proposing viable solutions to the matter of digitizing the historically valuable data that exists on and is represented by magnetic tapes. A detailed program of research and restoration and some software for helping in creation of critical editions of the musical works are proposed. We also present some of the issues and controversies that must be considered and approaches we have applied in the (...) preservation of tape music, highlighting how these interpretations can impact later performances of these tape documents. Fundamentally, we argue that the act of tape music restoration has a parallel with the interpretation of the “Urtext score” in the performance of music from the Common Practice Era. (shrink)

The authors of the article consider the main directions of the development of choral culture of the twentieth century in the context of domestic and regional socio-cultural processes through the prism of the legacy of the multifaceted creative personality of A. S. Anokhin, as well as through the analysis of the biography and creative path of the composer, based on his diaries and memoirs; presenting his views on the historical events of that time from the point of view of the (...) musician and a teacher. The figure of Afanasy Stepanovich Anokhin is one of the key figures in the musical education and enlightenment of the Altai Territory in the XX century, about his creative and educational activities. The novelty of the research lies in the reconstruction of the integral creative image of the composer in the context of the formation of musical culture in the Soviet period in the Altai Territory. In this work, for the first time, a complete list of the composer's published works is published. A. S. Anokhin's main compositional legacy is connected with mass songwriting, one of the most popular genres of the Soviet era. The article also examines the development of musical and choral culture in the Altai Territory from amateur groups to professional performance and the development of musical education throughout the twentieth century, as well as raises issues of preservation and reclamation of regional cultural heritage. (shrink)

Artificial intelligence era challenges the use and functions of emotion in college students and the students’ college life is often experienced as an emotional rollercoaster, negative and positive emotion can affect the emotional outcomes, but we know very little about how students can ride it most effectively to increase their creativity. We introduce frustration tolerance as a mediator and emotion regulation as a moderator to investigate the mechanism of creativity improvement under negative emotion. Drawing on a sample of 283 students (...) from professional music colleges or music major in normal universities, we find that negative emotion are generally associated with a lower creativity, while frustration tolerance can mediate the relationship between negative emotion and creativity, but these effects depend on the emotion regulation. Cognitive reappraisal exerts a negative effect on the relationship between negative emotion and creativity, while expressive suppression has the opposite effect. Our study contributes to the literatures on student’s emotions and creativity in music education and to the emotion regulation literature. (shrink)

The article pays homage to the leading authority of 20th century Hungarian music aesthetics, József Ujfalussy, by connecting his heritage to more recent research on the problems of musical time and notably to the study pursued by Raymond Monelle. Rather than a perennial invariant, Monelle interpreted musical time as a historically changing phenomenon constituting implicitly the basic levels of musical semantics, as they have developed throughout the Baroque, Classical and Romantic eras. The present study focuses on the (...) last of these paradigms, claiming that the Romantic experience of musical time has dominated both the production and the reception of music culture up to this day. The Romantic musical experience is based on a latent ‘framework contract’ between composition and audience, which drives the meanings attached to the experience of musical temporality. This latent agreement warrants a need for conventional compositional forms and simultaneously the insufficiency thereof. (shrink)

The 'Beethoven syndrome' is the inclination of listeners to hear music as the projection of a composer's inner self. This was a radically new way of listening that emerged after Beethoven's death. Beethoven's music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers--and not just Beethoven--in their works, particularly in their instrumental music. The Beethoven syndrome: hearing music as autobiography traces the rise, fall, and persistence (...) of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a framework of rhetoric in which the burden of intelligibility lay squarely on the composer, whose task it was to move listeners in a calculated way. But through a confluence of musical, philosophical, social, and economic changes, the paradigm of expressive objectivity gave way to one of subjectivity in the years around 1830. The framework of rhetoric thus yielded to a framework of hermeneutics: concert-goers no longer perceived composers as orators but as oracles to be deciphered. In the wake of World War I, however, the aesthetics of 'new objectivity' marked a return not only to certain stylistic features of eighteenth-century music but also to the earlier concept of expression itself. Objectivity would become the cornerstone of the high modernist aesthetic that dominated the century's middle decades. Masterfully citing a broad array of source material from composers, critics, theorists, and philosophers, Mark Evan Bonds's engaging study reveals how perceptions of subjective expression have endured, leading to the present era of mixed and often conflicting paradigms of listening"--Dust jacket flap. (shrink)

Two representative and important works in one volume by one of the greatest German philosophers. The Birth of Tragedy (1872) was Nietzsche's first book. Its youthful faults were exposed by Nietzsche in the brilliant "Attempt at a Self-Criticism" which he added to the new edition of 1886. But the book, whatever its excesses, remains one of the most relevant statements on tragedy ever penned. It exploded the conception of Greek culture that was prevalent down through the Victorian era, and it (...) sounded themes developed in the twentieth century by classicists, existentialists, psychoanalysts, and others. The Case of Wagner (1888) was one Nietzsche's last books, and his wittiest. In attitude and style it is diametrically opposed to The Birth of Tragedy. Both works transcend their ostensible subjects and deal with art and culture, as well as the problems of the modern age generally. Each book in itself gives us an inadequate idea of its author; together, they furnish a striking image of Nietzsche's thought. The distinguished translations by Walter Kaufmann superbly reflect in English Nietzsche's idiom and the vitality of his style. Professor Kaufmann has also furnished running footnote commentaries, relevant passages from Nietzsche's correspondence, a bibliography, and, for the first time in any edition, an extensive index to each book. (shrink)

Now that the collective death of mankind has become a possibility, no other thought can remain unimpaired. Harry Redner traces historically the onset of this acute state of Nihilism from what might be called the Faustian revolution, symbolized by Faust's pronouncement “In the beginning was the Deed.” Redner reflects on the passage of the three main Fausts, from Marlowe’s to Goethe’s to Thomas Mann’s, and this reflection serves as the dramatic metaphor for a review of the relationship of Progress to (...) Nihilism in modern civilization. Starting with an exposition of the key Faustian thinkers—Marx, Nietzsche, Wittgenstein, and Heidegger—the book proceeds by examining the dominant modern ideas on Man, Time, and Nihilism with reference to Foucault, Derrida, and Althusser. It focuses on Language, which is a key preoccupation of all these thinkers but has not yet been taken far enough to afford a basis for the explanation of fundamental changes in civilization. Language in its creative and destructive functions, as constituting both the conscious and unconscious of a culture, is reconceived so as to account for the hidden link between Progress and Nihilism. The author then explores sociologically the dominant aspects of Progress in terms of the ideas of Weber, Adorno, and Marcuse on Technology, Subjectivity, and Activism. Finally, an extensive literary study of the three main Fausts concludes with a coda on the future of music. In the Beginning Was the Deed is lucid and direct, tinged with wry humor. Redner represent Man in the nuclear age and reflects on that representation, seeking to comprehend our era, draw ethical and political conclusions, and explore action as a response to the threat of annihilation. (shrink)

The question that should be posed at this time is the following: Does every artist have an audience? It is not so long since the era of totalitarian regimes, when many composers had almost no access or nearly no access to an audience. But ideally, every composition should have a chance to be presented to a wider public. At that moment, the composition is entirely dependent on its interpretation, which determines to what extent the audience will accept the unknown work. (...) The task of the interpreter is to lead the listener through an unknown musical landscape and convince her of the absolute necessity of the existence of this landscape. This occurs, however, only in the concert performance, and demands from the interpreter an extremely high degree of preparation, and from the listener the requisite measure of tolerance and openness. The interpreter’s encounter with a work in the framework of a concert performance leads to an even deeper understanding of the composition. The performer does not need verbal comments in order to perceive and react to the audience’s response. Thus, the artist becomes acquainted with the work from a completely different perspective—that of the audience. Through the repeated interaction between interpreter and audience, the work comes alive and becomes part of the stage and the musical experience. (shrink)

The twentieth century was a time of dramatic change in the structure, language, and aesthetic purpose of music. Numerous factors came together that led the musical avant-garde toward new artistic paths such as atonality and aleatoricism (use of chance elements) in music, and a shift in the idea of what music should portray away from beauty toward truth, or from idealized to actualized. If the arts are a reflection of the philosophical and aesthetic spirit of the times, then an (...) examination of prominent philosophical and aesthetic regimes of the time should reveal changes that facilitated the aesthetic and artistic innovations of the era. This article will examine the relationship between the philosophical and aesthetic writings of Henri Bergson and the affinities, and in some cases influences, they had on the development of two of the major musical innovations of the twentieth century. Specifically, Arnold Schoenberg's development of atonal compositional technique results partially from Bergson's focus on knowledge as a conveyor of truth, and John Cage's cultivation of aleatoricism as a compositional process arises out of Bergson's critique of nothingness as stated in Creative Evolution. (shrink)

The visual arts include painting, sculpture, photography, video, and film. But many people would argue that music is the universal or only art of sound. In the modernist era, Western art music has incorporated unpitched sounds or ‘noise’, and I pursue the question of whether this process allows space for a non-musical soundart. Are there non-musical arts of sound—is there an art phonography, for instance, to parallel art photography? At the same time, I attempt a characterization of music, (...) contrasting acoustic, aesthetic, and acousmatic accounts. My view is that there is some truth in all of these. I defend the claim that music is an art with a small ‘a’—a practice involving skill or craft whose ends are essentially aesthetic, that especially rewards aesthetic attention—whose material is sounds exhibiting tonal organization. But acoustic and acousmatic accounts help to distinguish between music and non-musical soundart, since music must have a preponderance of tones for its material. (shrink)

During the late Soviet era, science fiction was one of the first zones of its ideological cosmos, registering the exhaustion of the communist utopia precisely within the literary genre aimed at its representation. In this article I consider the history of the “editing to death” of the Strugatsky brothers’ short novel Roadside Picnic as a representative case of the anti-utopian “uneasiness in civilization” of late actually existing socialism. Simultaneously with the censorship taming of the uneasiness, the Strugatsky’s science fiction dystopia (...) underwent a radical interpretation in Andrei Tarkovsky’s film adaptation Stalker as a Hegelian “good music with text”. In comparison to the censored edition, which is barely a timid emendation, ultimately yearning modestly for a good life during the most consumeristic and moderately repressive years of Soviet power, Tarkovsky’s aesthetically singular re-reading is truly a “Zone” of editing to death. (shrink)

Volume 23, Issue 3-4, November - December 2024, Page 245-250.

With the publication of French Philosophy of the Sixties, Alain Renaut and Luc Ferry in 1985 launched their famous critique against canonical figures such as Foucault, Derrida, and Lacan, bringing under rigorous scrutiny the entire post-structuralist project that had dominated Western intellectual life for over two decades. Their goal was to defend the accomplishments of liberal democracy, particularly in terms of basic human rights, and to trace the reigning philosophers' distrust of liberalism to an "antihumanism" inherited mainly from Heidegger. In (...) The Era of the Individual, widely hailed as Renaut's magnum opus, the author explores the most salient feature of post-structuralism: the elimination of the human subject. At the root of this thinking lies the belief that humans cannot know or control their basic natures, a premise that led to Heidegger's distrust of an individualistic, capitalist modern society and that allied him briefly with Hitler's National Socialist Party. While acknowledging some of Heidegger's misgivings toward modernity as legitimate, Renaut argues that it is nevertheless wrong to equate modernity with the triumph of individualism. Here he distinguishes between individualism and subjectivity and, by offering a history of the two, powerfully redirects the course of current thinking away from potentially dangerous, reductionist views of humanity. Renaut argues that modern philosophy contains within itself two opposed ways of conceiving the human person. The first, which has its roots in Descartes and Kant, views human beings as subjects capable of arriving at universal moral judgments. The second, stemming from Leibniz, Hegel, and Nietzsche, presents human beings as independent individuals sharing nothing with others. In a careful recounting of this philosophical tradition, Renaut shows the resonances of these traditions in more recent philosophers such as Heidegger and in the social anthropology of Louis Dumont. Renaut's distinction between individualism and subjectivity has become an important issue for young thinkers dissatisfied with the intellectual tradition originating in Nietzsche and Heidegger. Moreover, his proclivity toward the Kantian tradition, combined with his insights into the shortcomings of modernity, will interest anyone concerned about today's shifting cultural attitudes toward liberalism. Originally published in 1997. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns (...) of inter-musician movement coordination as revealed by the mathematical tools of complex dynamical systems to provide a new understanding of what potentiates the novelty of spontaneous musical action. We demonstrate this approach through the application of cross wavelet spectral analysis, which isolates the strength and patterning of the behavioral coordination that occurs between improvising musicians across a range of nested time-scales. Revealing the sophistication of the previously unexplored dynamics of movement coordination between improvising musicians is an important step towards understanding how creative musical expressions emerge from the spontaneous coordination of multiple musical bodies. (shrink)

Showcasing American music and music making during the Great Depression, Hard Luck Blues presents more than two hundred photographs created by the New Deal's Farm Security Administration photography program. With an appreciation for the amateur and the local, FSA photographers depicted a range of musicians sharing the regular music of everyday life, from informal songs in migrant work camps, farmers' homes, barn dances, and on street corners to organized performances at church revivals, dance halls, and community festivals. Captured across the (...) nation from the northeast to the southwest, the images document the last generation of musicians who learned to play without the influence of recorded sound, as well as some of the pioneers of Chicago's R & B scene and the first years of amplified instruments. The best visual representation of American roots music performance during the Depression era, Hard Luck Blues features photographs by Jack Delano, Dorothea Lange, Russell Lee, Arthur Rothstein, Ben Shahn, Marion Post Wolcott, and others. Photographer and image researcher Rich Remsberg breathes life into the images by providing contextual details about the persons and events captured, in some cases drawing on interviews with the photographers' subjects. Also included are a foreword by author Nicholas Dawidoff and an afterword by music historian Henry Sapoznik. Published in association with the Library of Congress. (shrink)