Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new articles by leading thinkers from the fields of music, audio engineering, anthropology and media. Innovative and timely, this collection represents scholars from (...) around the world, revisiting established themes such as record production and the construction of genre with new perspectives, as well as exploring issues in cultural and virtual production. (shrink)

One is a science, the other an art; one useful, the other seemingly decorative, but mathematics and music share common origins in cult and mystery and have been linked throughout history. Emblems of Mind is Edward Rothstein’s classic exploration of their profound similarities, a journey into their “inner life.” Along the way, Rothstein explains how mathematics makes sense of space, how music tells a story, how theories are constructed, how melody is shaped. He invokes the poetry of Wordsworth, (...) the anthropology of Le;vi-Strauss, the imagery of Plato, and the philosophy of Kant. Math and music, Rothstein shows, apply comparable methods as they create their abstractions, display similar concerns with ratio and proportion, and depend on metaphors and analogies to create their meanings. Ultimately, Rothstein argues, they reveal the ways in which we come to understand the world. They are images of the mind at work and play; indeed, they are emblems of Mind itself. Jacques Barzun called this book “splendid.” Martin Gardner said it was “beautifully written, marvelous and entertaining.” It will provoke all serious readers to think in new ways about the grand patterns in art and life. “Lovely, wistful. . . . Rothstein is a wonderful guide to the architecture of musical space, its tensions and relations, its resonances and proportions. . . . His account of what is going on in the music is unfailingly felicitous.”— New Yorker “Provocative and exciting. . . . Rothstein writes this book as a foreign correspondent, sending dispatches from a remote and mysterious locale as a guide for the intellectually adventurous. The remarkable fact about his work is not that it is profound, as much of the writing is, but that it is so accessible.”— Christian Science Monitor. (shrink)

Abstract:In this paper I will explore the contribution of philosophical anthropology to music education research which, over recent years, has been showing an increasing interest in the human body. In order to do this I will especially be drawing on the ideas of one of its pioneers, Helmuth Plessner. Plessner’s philosophy should be understood as an effort to overcome the Cartesian dualism ‘mind/body’ and to highlight the unity of a human being and her/his relation to her/his environment. With his (...) central theory of “eccentric positionality,” Plessner draws on a human’s relation to her/his body because a human is able to acknowledge that “I am body” and “I have body” while at the same time being able to realize her/his own situation and reflect upon it. Plessner grounds his thinking about music on his phenomenological observation about sound. He remarks that sound, which can be at the same time far and near, has voluminosity, impulsivity, an undeviating relation to human expressivity, is organized in vertical and horizontal arrangement, and tends towards sequentially. Because of all this, sound is compliant with a human body. His philosophy and especially his writings about music and sound could be fruitful for music educational theory and praxis. Some crucial aspects of his theory are embodiment in music, the relation between the meaning of music and body movements, the relation between the conduct of music and conduct of a human and the formation of culture as an open process. In this theoretical terrain concrete proposals and more general suggestions for an efficient and successful music education practice can be located. (shrink)

After they diverged from panins, hominins evolved an increasingly committed terrestrial lifestyle in open habitats that exposed them to increased predation pressure from Africa’s formidable predator guild. In the Pleistocene, _Homo_ transitioned to a more carnivorous lifestyle that would have further increased predation pressure. An effective defense against predators would have required a high degree of cooperation by the smaller and slower hominins. It is in the interest of predator and potential prey to avoid encounters that will be costly for (...) both. A wide variety of species, including carnivores and apes and other primates, have therefore evolved visual and auditory signals that deter predators by credibly signaling detection and/or the ability to effectively defend themselves. In some cooperative species, these predator deterrent signals involve highly synchronized visual and auditory displays among group members. Hagen and Bryant (_Human Nature_, _14_(1), 21–51, 2003) proposed that synchronized visual and auditory displays credibly signal coalition quality. Here, this hypothesis is extended to include credible signals to predators that they have been detected and would be met with a highly coordinated defensive response, thereby deterring an attack. Within-group signaling functions are also proposed. The evolved cognitive abilities underlying these behaviors were foundations for the evolution of fully human music and dance. (shrink)

This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to “frequency-based” music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timbre-based music attract the attention of Western researchers, these are usually interpreted as “defective” (...) implementations of frequency-based music. The presence of discrete pitch is often regarded as the structural criterion that distinguishes music from non-music. We would like to present evidence to the contrary—in support of the existence of indigenous music systems based on the discretization and patterning of aspects of timbre, rather than pitch. This evidence comes mainly from extensive ethnographic research systematically conducted in eastern European and Asian parts of Russia from the 1890s. It involved the efforts of thousands of specialists and was coordinated by dozens of research institutions, and it has included not just ethnomusicology but linguistics, philology, organology, archaeology, anthropology, geography, and religious and social studies. Much of the data has not been translated into Western languages. Timbre-based tonal organization (TO) differs from that based on frequency in its personal orientation: musicking here occurs primarily for oneself and/or for close relatives/friends. Collective music-making is rare and exceptional. The foundation of timbre-based music seems to have vocal roots and rests on “personal song”—a system of personal identification through individualized patterns of rhythm, timbre, and pitch contour, utilized like a “human voice”—whose sound enables the recognition of a particular individual. The instrumental counterpart of the personalized singing tradition is the jaw harp tradition. The jaw harp is the principal musical instrument for at least 21 ethnicities in Russia, who occupy over half the territory of the country. The evolution of its TO forms the backbone for the development of timbre-based music art. Here, we provide the acoustic, socio-cultural, geographic, and chronological overview of timbre-based music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Disturbances and Dislocations: Understanding Teaching and Learning Experiences in Indigenous Australian Women’s Music and DanceSarah H. WattsElizabeth Mackinlay. Disturbances and Dislocations: Understanding Teaching and Learning Experiences in Indigenous Australian Women’s Music and Dance (Bern: Peter Lang, 2007).Elizabeth Mackinlay, a lecturer in the Aboriginal and Torres Strait Islander Studies Unit at the University of Queensland, documents her unique pedagogical approaches and ways of thinking about the teaching (...) and learning of music and dance in her book, Disturbances and Dislocations: Understanding Teaching and Learning Experiences in Indigenous Australian Women’s Music and Dance. A university-level anthropology course dealing with the music and dance traditions of Australia’s Yanyuwa women was the setting for this “ethnographic case study” (p. 17). Through this course, Mackinlay sought to help students connect Indigenous Australian performance practices to social and political issues while fostering awareness of gender issues and learning processes within Indigenous Australian music and dance performance contexts. These objectives were met through a distinctive approach—by disposing of the strict lecture class format and bringing the field into the classroom. Disturbances and Dislocations documents the experiences of Mackinlay, her students, and several Yanyuwa women who come together as part of the course to engage in hands-on, authentic music and dance exchanges that bring the Yanyuwa women’s voices to the fore. [End Page 90]From the very beginning of the book, Mackinlay highlights her unique point of view as author of this work. She is a “white, middle class, educated woman” (p. 15) researching the experiences of and teaching university-level courses relating to Indigenous Australian and Torres Strait Islander peoples, a cultural background that is not her own. She is a political, educational, and ethnic outsider to the groups of peoples she studies. The wife of an Aboriginal man and mother to Aboriginal children, she is afforded links to the Yanyuwa people that provide her with a measure of status as a family member within the community. The dichotomy of being at once an insider and an outsider in the Yanyuwa community lends a fascinating level of complexity to Mackinlay’s exploration and analysis of the presence and impact of Yanyuwa culture-bearers in her classroom. The warmth, honesty, and openness with which she addresses her unique role in this learning exchange is engaging to the reader, and allows her personal situation to add humanity and life to the words on the page.The eight-chapter book commences with an introductory section that reflects upon her personal experiences in engaging in scholarship relating to Indigenous Australian issues. Additionally, the reader is introduced to the site of the ethnography, her classroom, in which her personal and professional lives intertwine. The next chapter further establishes the context of the ethnography by discussing a pilot project that laid foundations for the main study presented in the book. In this 1999 pilot project, a group of Mackinlay’s students, largely white women, participated in hands-on music and dance workshops under the guidance of Mackinlay and several Yanyuwa women. Student responses from this pilot project indicated that they felt awkward at times, but valued the time spent with the Yanyuwa guests and wished for more of these types of class sessions. Mackinlay determined that this cultural exchange could be even richer if more class time could be dedicated to it, an important observation for her own work, and also for others who seek to furnish cultural encounters for students.The fourth chapter delves into a theoretical discussion of the meanings of the inclusion of the study of Aboriginal and Torres Strait Islander peoples in contemporary classroom settings. Issues of political positioning, representation of Indigenous voices, identity, and “speaking from and of in-between spaces” (p. 64) as one with a foothold in both white and Indigenous worlds are all addressed, engaging the reader in Mackinaly’s own complex journey of coming to terms with her own teaching and scholarly pursuits. It is refreshing to the reader that Mackinlay acknowledges her unique viewpoint as facilitator of this course and this research study. While she is an authority in this realm, she highlights her own backgrounds and biases, her individual lens... (shrink)

Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies has developed canonic scholarship, and the (...) citation tendencies present within scholarship on both Western and non-Western popular musics; 3) the motivations for two scholarly groups, Dancecult and ASARP, to breakaway from popular music studies; 4) the forms of music analysis and the kinds of musical material commonly employed within popular music studies. I suggest that the field would greatly benefit from a true engagement with anthropological theories and methods, and that the “chaotic conceptualization” of musical structuration and the critical discourse would likewise benefit from an attention to recorded sound and production aesthetics. (shrink)

From our first social bonding as infants to the funeral rites that mark our passing, music plays an important role in our lives, bringing us closer to one another. In _The Music between Us_, philosopher Kathleen Marie Higgins investigates this role, examining the features of human perception that enable music’s uncanny ability to provoke, despite its myriad forms across continents and throughout centuries, the sense of a shared human experience. Drawing on disciplines such as philosophy, psychology, musicology, (...) linguistics, and anthropology, Higgins’s richly researched study showcases the ways music is used in rituals, education, work, healing, and as a source of security and—perhaps most importantly—joy. By participating so integrally in such meaningful facets of society, Higgins argues, music situates itself as one of the most fundamental bridges between people, a truly cross-cultural form of communication that can create solidarity across political divides. Moving beyond the well-worn takes on music’s universality, _The Music between Us_ provides a new understanding of what it means to be musical and, in turn, human. (shrink)

Written in the anthropological tradition of ethnography, this is a comprehensive account of the radical American musical called experimentalism that arose early in the century and peaked in the 1950s and 1960s.

In lieu of an abstract, here is a brief excerpt of the content:Music, Myth, and EducationThe Case of The Lord of the Rings Film TrilogyEstelle R. Jorgensen (bio)In probing the interrelationship of myth, meaning, and education, I offer a case in point, notably, Peter Jackson's film adaptations and Howard Shore's musical scores for J. R. R. Tolkien's The Lord of the Rings trilogy—The Fellowship of the Ring, The Two Towers, and The Return of the King.1 Intersecting literature, film, and (...) music allows me to explore various perspectives or ways of meaning making associated with this myth. I then trace some of the implications of the analysis for musical and general education.I am particularly interested in the musical connections with myth evident in societies around the world and well established in the anthropological, ethnomusicological, and philosophical literatures. For example, Steven Feld finds the myth of the muni bird to be foundational to a New Guinea society in shaping musical expression and communal beliefs and practices.2 Likewise, as Lewis Rowell argues, Western music is rooted in and acquires its own mythos of person, power, and musical instruments; Dionysius, Apollo, Lachesis, Clotho, Atropos, Orpheus, Guido of Arezzo, St. Cecilia, and Thomas Mann's Doctor Faustus are among those whose impact on music are legendary, formative, and figurative.3 Associations of particular myths with operatic, orchestral, and choral repertoire in the Western classical tradition also abound, such as Wagner's operatic setting of the Lay of the Nibelung and Sibelius's evocation of the Finnish Vālhālla. Music and myth are interconnected especially in the film music of our time, for example, The Lord of the Rings trilogy, Titanic, and the Star Trek and Star Wars series.In The Lord of the Rings, my present focus, Shore's musical scores help to highlight the mythic character of Tolkien's narrative, bridge the externally perceived phenomenal world and the internal and subjective "inner world," interrelate the experience of time—especially past and present—and evoke a sense of wonder and awe that otherwise may be forgotten in pervasively [End Page 44] materialistic societies. Music's role in kindling reverence goes to the heart of what these films share that make them mythic—transcendence, profundity, ambiguity, narrativity, and an aesthetic and didactic character that arouse awe, mystery, and a heightened sense of the human condition. Here, music is primarily representational,4 serving functional as well as aesthetic/artistic roles in expressing such mythic themes as the contest between good and evil (in which good is often more fragile and the odds sometimes insurmountable) and the inevitability of death, in which human beings are often at the whim of capricious gods, natural forces, and their own weakness. It adds emotional and intellectual feeling to the visual images, pointing particular attention to specific scenes and representing the tensions built or released as the narrative and visual images unfold.Music's role in blurring past and present is particularly interesting since it is an art of time. The Lord of the Rings evokes an earlier time of crisis in Middle-earth, when the survival of humanity was in jeopardy. The soundtrack assists the moviegoer to make connections between times and travel imaginatively through time, thereby bringing alive the past and imagined future in the present moment. Boundaries between past and present become fuzzier, and one is helped in moving from one time to another. Leitmotifs are of particular interest in helping to make the ambiguity of the narrative more easily accessible and comprehensible, even at risk of oversimplifying matters—a quality evocative of music's use in the speech-song performances of the Iliad, among other ancient stories.Tolkien's fairytale is not couched for children, as is his earlier The Hobbit, but written unabashedly for adults.5 The Fellowship of the Ring can be seen as an epic fairytale with "a kind of religious significance."6 In her analysis of "life symbols"—or artistic, ritualistic, and mythic systems that are read "non-discursively," having no assigned connotation and therefore felt and grasped imaginatively and intuitively—Susanne Langer suggests that fairytales are a genre below that of myth in the continuum between dream and myth. For her, "myth has … a... (shrink)

This volume explores what phenomenology adds to the enterprise of anthropology, drawing on and contributing to a burgeoning field of social science research inspired by the phenomenological tradition in philosophy. Essays by leading scholars ground their discussions of theory and method in richly detailed ethnographic case studies. The contributors broaden the application of phenomenology in anthropology beyond the areas in which it has been most influential—studies of sensory perception, emotion, bodiliness, and intersubjectivity—into new areas of inquiry such as martial arts, (...) sports, dance, music, and political discourse. (shrink)

Why do humans make music? Theories of the evolution of musicality have focused mainly on the value of music for specific adaptive contexts such as mate selection, parental care, coalition signaling, and group cohesion. Synthesizing and extending previous proposals, we argue that social bonding is an overarching function that unifies all of these theories, and that musicality enabled social bonding at larger scales than grooming and other bonding mechanisms available in ancestral primate societies. We combine cross-disciplinary evidence from (...) archeology, anthropology, biology, musicology, psychology, and neuroscience into a unified framework that accounts for the biological and cultural evolution of music. We argue that the evolution of musicality involves gene–culture coevolution, through which proto-musical behaviors that initially arose and spread as cultural inventions had feedback effects on biological evolution because of their impact on social bonding. We emphasize the deep links between production, perception, prediction, and social reward arising from repetition, synchronization, and harmonization of rhythms and pitches, and summarize empirical evidence for these links at the levels of brain networks, physiological mechanisms, and behaviors across cultures and across species. Finally, we address potential criticisms and make testable predictions for future research, including neurobiological bases of musicality and relationships between human music, language, animal song, and other domains. The music and social bonding hypothesis provides the most comprehensive theory to date of the biological and cultural evolution of music. (shrink)

INTRODUCTION: Philosophy is the unique science which considers all other sciences in systematically unity (Kant). The classical anthropology (Platon, Aristoteles, Descartes, Hume, Kant, etc.) considers the human and his "spheres" (biological, psychological, logical, philosophical, theological) and his interdependence with nature and society. A philosophical theology investigates spiritual phenomena, described by religions and parapsychology in context of ethics, epistemology (incl. metaphysics), aesthetics. A theological anthropology should consider these phenomena multidimensional in context of a holisticscience, i.e. physico- (Kant), bio- (Lüke), psycho-, logico-, (...) philosophical theology, etc. [Lit.: Neu, Michailov: Integralanthropology. In: Proc. 21st World Congr. Philos. Istanbul. Press FISP 280‐281, 2003; Theol. Anthrop. In: Book: New Pathways for Eur. Bioethics. Ed.: Eur. Ass. Med. Ethics, Leuven, p. 53/60, 2006; Med. Ethics, 21st Ann. Conf. EACME (Ed.) Zürich, p. 53, 2007]. CONCEPTION: Regrettably philosophical theology is reduced to nearly philosophical and theological ethics: Both ethics in the future should realize a common scientific integrated ethics based on philosophy, theology, and psychology incl. of great cultures - Brahmanism, Buddhism, Christianism-Mosaism, Confucianism, and Mohammedanism. The present moral philosophy is very pluralistic: Many views concerningnormative and metaethics (deontology, axiology), also relativism, absolutism (incl. utilitarism), noncognitivism are present. A similar situation exists in moral theology: Not only in context of philosophy (consequentialism, justice, protectionism), but more - of theology are existent contradictionary differences concerning ethics in the great religions (related to God, Spirit/Soul, reincarnation, etc.). A future philosophical theology needs a renewal of its scientific theoretical andexperimental fundamentals (controlled observations: criterion for intersubjectivity) concerning theological anthropology incl. not only occidental epistemology (metaphysics, scientific theory, etc.), but also oriental - esp. Brahmanistic and Buddhist (self realization by Yoga, Tibetan, Zen Buddhism) and scientific evaluation of spiritual phenomena by biophysics, physiology, psychology and formal (Aristoteles, Gautama), real, transcendental (Kant), metaphysical (Hegel) normal logic. Areconsideration of application of philosophy of arts, esp. aesthetics in philosophical theology is also necessary (incl. inspirations in music/Bach, Beethoven, Händel, painting/Leonardo da Vinci, sculpture/Michelangelo). CONCLUSION: Scientific and political support for a renovation of theological anthropology and philosophical theology could help essentially for a realization of UNO-Agenda 21 for better total (incl. spiritual) health and peaceful world. (shrink)

Renewed interest in the relationship between music education and cultural identity draws its vigor from strongly divergent sources. Globalized education and globalized musical culture supply new paradigms for understanding the central tasks of music education and their responsibility to a multicultural ethic of diversity, hybridity and difference. Yet recent anthropological studies of musical cognition and development emphasise both the centrality of ethnic and cultural particularism to the formation of musical awareness and the transcultural, factors in which such particularism (...) is embedded. These seemingly contrasting perspectives on the relationship of music to culture and identity offer a fertile context for redefining the place of music education in the curriculum. (shrink)

Mathematics and music in practice and performance, and in learning and teaching, share many characteristics, such as beauty and harmony, memory and intuition and mind or intellect. These raise the principles of processing information in mathematics and music and, by implication, the role of an acquaintance with the essentials of perception, abstraction and affective connaturality in teacher education. This paper compares mathematics and music and considers the acquisition of knowledge and skills through the external and internal senses (...) and emotions, utilizing the role of knowledge through multiple intelligences. In doing so it does not canvas the utilities of mathematics and music as fields of human endeavour so much as their role in the cultivation of serenity and knowledge in the cultured mind. This is a theoretical paper but it is based on nearly a century of teaching from the combined work of the two authors in the teaching of music and mathematics. The paper highlights the importance of inspiration in teaching, inspiration built on a thorough basis of the foundations of anthropology to include the emotions as well as the intellect. While teacher education programs rightly concern themselves with knowledge of the field of study, knowledge of pedagogy, they do not always consider the ability to inspire which is at the heart of managing and mentoring people. (shrink)

Summary During his prolific career, the German Jewish scientist Franz Boas (Minden, 1858 - New York, 1942) recognized as the founding father of American Cultural Anthropology – maintained assiduous contacts with the European scientific community, in a privileged way with that of the German area. The contribution addresses the Boasian correspondence with the two directors of the Berliner Phonogramm-Archiv, the philosopher and psychologist Carl Stumpf, and the ethnomusicolo-gist Erich Moritz von Hornbostel. All three were united by a common scientific experimental (...) training and a solid musical education, typical of their Bildungsbu ü rgertum. With them, Boas consistently shared his fieldwork findings regarding music, sound, and language among the Indians of British Columbia: indeed, their epistolary exchanges intertwine epistemological reflections centered on the study of «exotische Musik» in context with technical problems, derived from the use of phonographic recordings and the relative shipments of wax cylinders by Boas to the Phonographic Archive. So far, the critical literature has not paid particular attention to their correspondence, that offer instead a privileged look in observing the birth of Ethnomusicology, at the time still defined as comparative Musicology (vergleichende Musikwissenschaft). Starting from a biographical contextualization and following the micro-history of the scientific and personal relationship of these scientists, the contribution aims to explore the hypothesis that the emerging Ethnomusicology significantly contributed to the definition of Cultural Anthropology as a discipline. In his painstaking research devoted to the Native Indian sounds and languages, Boas observed indeed what happens if a mind is exposed to a new sound, musical or linguistic context; he had therefore to rigorously deal with the phenomena of mishearing, sound-blindness and biasing filter related to the perception of «new sounds». Thanks to his fieldwork, Boas would endorse a relativistic and “in context” approach to perception and mental representations of sounds, fostering his eventual lifelong, hectic concern about a broaden antiracist theory of human mental functions. (shrink)

This paper examines Roger Scruton's acousmatic account of music, situating it in relation to the anthropology that accompanies it. It suggests that in order to adequately maintain the anthropology Scruton desires (a cognitive rather than an ontological dualism), and to take full account of the parallel he draws between musical and inter-personal understanding (through gesture), the materiality of music needs to be more fully into his account of musical understanding.

Sufi Music of India and Pakistan: Sound, Context, and Meaning in Qawwali. Regula Burckhardt Qureshi. Chicago and London: The University of Chicago Press, 1995. $24.95 (paper), xviii. 265 pp. CD with 60 min. of Qawwali music.

The Cultural Study of Music is an anthology of new writings that will serve as a basic textbook on music and culture. Increasingly, music is being studied as it relates to specific cultures-not only by ethnomusicologists, but by traditional musicologists as well. Drawing on writers from music, anthropology, sociology, and the related fields, the book both defines the field-i.e., "What is the relation between music and culture?"-and then presents case studies of particular issues in world (...) musics. This book would serve as an introductory textbook for the cultural study of music, an area that is increasingly being taught at the upper-level undergraduate and graduate level. Plus it would appeal to scholars in all areas of music, reflecting the latest and most up to date thinking on the complex issues surrounding how music and culture interrelate. (shrink)

This essay explores Wittgenstein’s encounter with Stumpf’s work in Tone Psychology during a rarely studied period in Wittgenstein’s early career when he worked as a researcher in Myers’s laboratory for experimental psychology in Cambridge. I argue that Stumpf’s emphasis on the notion of musicality as the ability to characterize what is ‘musical’ about music troubled Wittgenstein’s initial formulation of his career-long adherence to the comparison between language and music. In the Tractatus the importance of internal projective relations far (...) exceeds that of arbitrariness in language. This results in the curious elision of musicality in the Tractatus, as shown in his gramophone analogy. The acknowledgment of the enormous complexity pertaining to the facts of human life remained underdeveloped in Wittgenstein’s philosophy until the anthropological turn in his middle-period. Only then do we see the blooming of the language-as-music simile and its eventual impact on Wittgenstein’s later philosophy. (shrink)

Together with language, music is perhaps the most distinctive behavioral trait of the human species. Different hypotheses have been proposed to explain why only humans perform music and how this ability might have evolved in our species. In this paper, we advance a new model of music evolution that builds on the self-domestication view of human evolution, according to which the human phenotype is, at least in part, the outcome of a process similar to domestication in other (...) mammals, triggered by the reduction in reactive aggression responses to environmental changes. We specifically argue that self-domestication can account for some of the cognitive changes, and particularly for the behaviors conducive to the complexification of music through a cultural mechanism. We hypothesize four stages in the evolution of music under self-domestication forces: (1) collective protomusic; (2) private, timbre-oriented music; (3) small-group, pitch-oriented music; and (4) collective, tonally organized music. This line of development encompasses the worldwide diversity of music types and genres and parallels what has been hypothesized for languages. Overall, music diversity might have emerged in a gradual fashion under the effects of the enhanced cultural niche construction as shaped by the progressive decrease in reactive (i.e., impulsive, triggered by fear or anger) aggression and the increase in proactive (i.e., premeditated, goal-directed) aggression. (shrink)

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

I explore and outline Wittgenstein's original response to the Romantic discourse concerning musical depth, from his middle-period on. Schopenhauer and Spengler served as immediate sources for Wittgenstein's reliance on Romantic metaphors of depth concerning music. The onset for his philosophic intervention in the discourse was his critique of Schenker's view of music and his general shift toward the 'anthropological view', which occurred at the same time. In his post-PI period Wittgenstein was able to reimagine musical depth in terms (...) of vertically interrelated language-games which facilitate Menschenkenntnis. (shrink)

This essay explores Wittgenstein’s encounter with Stumpf’s work in Tone Psychology during a rarely studied period in Wittgenstein’s early career when he worked as a researcher in Myers’s laboratory for experimental psychology in Cambridge. I argue that Stumpf’s emphasis on the notion of musicality as the ability to characterize what is ‘musical’ about music troubled Wittgenstein’s initial formulation of his career-long adherence to the comparison between language and music. In the Tractatus the importance of internal projective relations far (...) exceeds that of arbitrariness in language. This results in the curious elision of musicality in the Tractatus, as shown in his gramophone analogy. The acknowledgment of the enormous complexity pertaining to the facts of human life remained underdeveloped in Wittgenstein’s philosophy until the anthropological turn in his middle-period. Only then do we see the blooming of the language-as-music simile and its eventual impact on Wittgenstein’s later philosophy. (shrink)

Black Utopias posits a concept of utopia made possible by black people's exclusion from the human and expressed through the ecstatic practices, community creation, speculative fiction and music. Jayna Brown explores the practices and works of 19th century black women mystics as well as 20th century musicians and speculative fiction writers including mystics Sojourner Truth and Rebecca Cox Jackson, musicians Alice Coltrane and Sun Ra, and writers Samuel Delany and Octavia Butler.

This paper offers an interpretation of and introduction to the philosophical anthropology of Roger Scruton through an examination of the aesthetic dimension of human rationality. We argue that attending to our aesthetic experience as individuated subjects capable of intersubjective communion offers a helpful corrective to the deracinated and disembodied view of human rationality prevalent in much of our contemporary ethical and scientific discourse. Through a consideration of how embodied rationality is at work in four different forms of art – painting, (...) music, dance, and architecture – our paper develops the rudiments of a more concrete philosophical anthropology, and on the basis of first principles advances a normative claim about the importance of art and beauty to human life. (shrink)

Among the fields of music study, ethnomusicology has wrestled most self-consciously with matters of representation. Since its inception in the late nineteenth century as vergleischende Musikwissenschaft [comparative musicology] and throughout its turbulent history, ethnomusicology has been centrally and vitally concerned with at least three basic issues and their numerous ramifications. First is the problem of locating disciplinary boundaries: is ethnomusicology a subfield of musicology, does it belong under anthropology or ethnology, or is it an autonomous discipline?1 Second is the (...) problem of translation: what factors influence the attempt to translate the reality of other musical cultures into audio and visual recordings, verbal accounts, and transcriptions in musical notation? Is there a viable “theory of translatability”?2 Third is a network of political and ideological matters: what sorts of ethical issues constrain the practical effort to understand another culture? What is the relation between empire and ethnomusicological representation? Can we—that is, is it a good thing to—study any music without taking note of the social, economic, political, and technological circumstances of its producers? 1. A concise introduction to the field of ethnomusicology, its history, personalities, and method may be found in Barbara Krader, “Ethnomusicology,” in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 20 vols. , 6:275-82. The most comprehensive recent discussion of key issues in ethnomusicological research is Bruno Nettl, The Study of Ethnomusicology: Twenty-nine Issues and Concepts .2. See Johannes Fabian, Time and the Other: How Anthropology Makes Its Object , p. 43. Kofi Agawu teaches at Cornell University and is the author of Playing with Signs: A Semiotic Interpretation of Classic Music. (shrink)

This chapter investigates the locations and modes of musical performance in the residences of the nobility in seventeenth-century Rome, indicating the differences between this period and the Renaissance. In particular, instances of music-making in the courts of princes and cardinals are identified and described, in relation to considerations of etiquette, social conventions and anthropology. This research, based on first-hand documentary research in the archives of Roman noble families, has revealed unexpected locations for music-making, which cannot always be justified (...) in terms of acoustic or aesthetic criteria. Particular attention is paid to the places where instruments were stored, as recorded in inventories, and their typology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Susan Laird, “Musical Hunger: A Philosophical Testimonial of Miseducation”Estelle R. JorgensenSusan Laird’s lament of her “musical under-education,” her youthful lack of opportunity for the sorts of experiences for which she hungered and its life-long after-effects, and her invocation of hunger as a metaphor for music education raise compelling questions. In a feminized field such as music, particularly piano playing, her hunger is particularly poignant. (...) Also, the notion of “musical taste” takes on new meaning, and the musical, educational, and ethical questions this metaphor evokes reveal its richness as a means of thinking about music education. This metaphor joins others such as Barbara Thayer Bacon’s metaphor of the quilt, Jane Roland Martin’s metaphor of the home, Iris Yob’s metaphor of pilgrimage, Elizabeth Gould’s metaphor of the nomad, Virginia Richardson’s metaphor of the steward, and Randall Allsup’s metaphor of the garage band, each of which illumines music education differently.1 Without one, we miss important insights into the thought and practice of music education; when taken together, they offer a richer view than were we to see music education in terms of one alone. [End Page 75]Although metaphor evokes imaginative thought and practice in music education, it is also limited. As Nelson Goodman aptly puts it, metaphor is a “matter of teaching an old word new tricks” and an “expedition abroad in which associations with one realm are applied in another.”2 Its power lies in its evocative and imaginative quality as it startles and surprises, challenges familiar ways of thinking and doing, and opens new possibilities for how we might think, act, and be differently. Although Laird would not want to literalize musical hunger or equate it with physical hunger—physical and spiritual realms intersect but they are not equivalent—it is possible to freeze a metaphor or literalize the vitality out of it. Testing it systematically, we enter the ground between metaphor and model, or what Iris Yob thinks of as the metaphorical model.3 While metaphor may prompt an intellectual journey, it cannot take us the entire way. In its particularistic and imaginative appeal, it opens reflection though it cannot suffice. A metaphor may also have a dark side. For example, envisaging the teacher’s role as salvific in providing bread for the hungry or preventing gluttony or food addictions may foster a paternalistic view that substitutes the teacher’s view of a student’s long term interests for the student’s directly-known and immediately perceived needs and interests, thereby subverting Laird’s expressed interest in the student’s desires. The educational “sin” of addiction may also be “redeemed” in Schefflerian fashion by pointing to important contributions of musicians who were doubtless excessive in their musical engagements.4 These possibilities suggest that we shall need to examine critically the metaphor and what it means for music education and move beyond the metaphor to its related models of music education.One of the interesting questions that Laird’s metaphor of hunger raises is the possibility of spiritual hunger, especially in a pervasively materialistic world. Matters related to spirituality have been addressed variously by writers in music education, whether it be the “healing” and ecologically-oriented approach of June Boyce-Tillman, the evolutionary and anthropologically grounded holistic approach of Anthony Palmer, the ethically-based approach of David Carr, the introspective and politically-charged writing of Cathy Benedict and Randall Allsup, the feminist perspectives of Elizabeth Gould, Charlene Morton, Roberta Lamb, and Deanne Bogdan, or the religiously grounded work of Iris Yob.5 Notions of spiritual hunger might be seen differently within the various lenses that these writers bring to music education but they all underscore the importance of knowing that goes beyond the literal, utilitarian, generalizable, and vocational to address the life of mind and body that Susanne Langer terms “feeling” and with which the arts, myths, rituals, and religions have to do.6 As such, they rebuke general education that is limited to reading, writing, and arithmetic, and driven by tests, standards, and mandates that often give short shrift to matters of human spirituality. Still, as the recent unanimous resolution in favor of... (shrink)

In light of recent studies in the phenomenology of music, the essay engages anew in the classical phenomenological controversy over the ideal status of musical works. I argue that musical works are bound idealities. I maintain that the listener’s capacity to apperceive physical sounds as musical melodies, which can be repeatedly and intersubjectively experienced, accounts for the ideality of musical works. Conceived of as bound idealities, musical works 1) are bound to the acts that sustain them; 2) do not (...) have retroactive validity; 3) are inseparable from their reproductions; 4) are modified by the performances. I conclude with some reflections on the importance of bound idealities for the phenomenologically-oriented philosophical anthropology. (shrink)

The papers collected in this volume vividly reflect the strikingly wide range of interests characterizing current research in phenomenology inspired by Roman Ingarden. One of Husserls closest and most devoted students, and at the same time one of his earliest and sharpest critics, Ingarden himself explored numerous fields of philosophy in considerable depth. While he remains best known for his groundbreaking work in aesthetics, ontology, and metaphysics, he also dealt extensively in ethics, epistemology, philosophical anthropology, and cognitive science, and his (...) work was characterized throughout by a deep and abiding interest in the sciences and an unwavering respect for painstakingly thorough logical investigation. Issues from all of these areas of study provide the topics dealt with by the authors contributing to this volume. Several authors focus explicitly on historical matters, often casting surprising new light on the development of early phenomenology in general and of Ingardens own realist phenomenology in particular. Other authors have concentrated instead on specific areas or particular topics of long-standing interest, such as the aesthetic experience, the philosophy of music, and artistic creation, while others have explored the relevance of Ingarden's ontological and anthropological analyses to current research into everything from the interpretation of texts to the study of technological posthumanization. With contributions from both established experts and young scholars, this collection brings together three generations of researchers who share the same basic philosophical goals and methodology, yet exhibit noticeably distinct styles, making this collection not only accessible and topical but also unusually lively. (shrink)

The article is devoted to postmodernism musical performance. There was realized a comprehensive retrospective analysis of the phenomenon development from ancient period to nowadays. It was proved that in ancient times interpretation was explained as a form of mythological worldview embodiment; in the Middle Ages as a way of uniting man and God; in Rrenaissance as a means of harmonizing material and spiritual components of personality; in Baroque as a method of theatricality of person's existence; in Classicism as an opportunity (...) to assert the power of human mind; Romanticism emphasized emotionality and subjectivity of concerting, the unique role of master; Modernism declared freedom of interpretation. Understanding the essence of musical performance with each historical stage became deeper, was enriched with new terminological, depth of scientific and theoretical understanding. The musical performance of postmodernism as a unique phenomenon has its own chronology of formation and development, based on achievements of previous epochs, transformed in accordance to philosophical aesthetics of the late XX century. Its outstanding constitutive qualities are: anthropology, religiosity, spirituality, meditation, improvisation, humanism, dialogicity, theatricality, rationalism, intellectualism, emotionality, playing, intertextuality, polystylistics etc. The performing art of postmodernism embodies the conceptual principles of its time: pluralism, irony, collage, synthesis, the death of the author, so on. It unites, eclectically mixes different artistic traditions and views, it forms a unique interpretive vision of musical text, demonstrates openness to dialogue with different historical epochs and civilizations, aimed at both the elite and the mass audience. (shrink)

Traditional folk music refers to customary songs and tunes played since time immemorial in a specific area. As an expression of culture and identity, this kind of music can be deemed as the heritage of the local community in its entirety, and derives from musical practices transmitted orally and repeated over a long period of time by a group of people, who, in so doing, keep their traditions alive. From this point of view, the owner of traditional folk (...) music is not a specific composer, but all the members of a local community. But this clashes with the efforts to copyright traditional folk music expressions, since often copyright acts do not recognize forms of collective ownership on folklore and traditional knowledge. This paper aims to discuss possible solutions to tackle the issues related to the protection of traditional folk music, by considering not only the literature in the field of intellectual property, but also the outcomes of the legal formants and the comparative methodology, taking into consideration the studies of the social sciences involved in this topic, in particular anthropology and ethnomusicology. The final task is to find a place for traditional folk music within the framework of copyright law and verify its level of protection. (shrink)

A source of profound insights into human existence and the nature of lived experience, phenomenology is among the most influential intellectual movements of the last hundred years. The Oxford Handbook of the Phenomenology of Music Cultures brings ideas from the phenomenological tradition of Continental European philosophy into conversation with theoretical, ethnographic, and historical work from ethnomusicology, anthropology, sound studies, folklore studies, and allied disciplines to develop new perspectives on musical practices and auditory cultures.

This eighth volume in the highly praised Study of Time series presents articles that fall into three broad categories: life and time as they are understood in the biological, cognitive, and psychological dimensions; the experience of time and life in words, sounds, and images; and time and life as ordered according to sociological, historical, and anthropological perspectives. The International Society for the Study of Time (ISST) is largely composed of the very academics whose early training and research have encouraged them (...) to specialized in subjects of less and less scope. But the very interdisciplinary nature of a society of heterogenous scholars from over 30 countries in more than 20 disciplines committed to the study of time is bound to broaden the perspective of those who are thus engaged. Furthermore, the insistence on delivering papers in plenary session - and in a milieu which has always proved to be a delight to the eyes, the mind, and the body - invariably encourages highly productive, jargon free, and very profitable discussions throughout the day and in smaller groups often late into the night. How does time and life apply to music, technology, philosophy, physics, film, and so much more? The pleasant pain and the resulting creative energy that derive from being obliged to view one's subject in a newer and broader perspective produced the excellent papers chosen for presentation at the conference. And that same creative energy is presented here in the more Apollonian form of the papers selected by their external readers and the editors, as Dimensions of Time and Life. (shrink)

In The Politics of Vibration, cultural theorist Marcus Boon offers both an anthropological and theoretical account of vibrational ontology. Boon focuses on the work of three contemporary musicians-Hindustani classical vocalist Pandit Pran Nath, Swedish drone composer and philosopher Catherine Christer Hennix, and Houston-based hip-hop creator, DJ Screw-each emerging from a different but entangled set of musical traditions or scenes, whose work is ontologically instructive. Written as a series of improvisations on the life and work of these musicians, The Politics of (...) Vibration expands in the direction of considering the vibrational nature of music more generally. Vibration is understood in multiple ways, as a mathematical and a physical concept, as a religious or ontological force, and as a psychological/psychoanalytic determinant of subjectivity. (shrink)

Embodying Transnational Yoga is a refreshingly original, multi-sited ethnography of transnational yoga that obliges us to look beyond postural practice (aasana) in modern yoga research. The book introduces readers to three alternative, understudied categories of transnational yoga practice which include food, music, and breathing. Studying these categories of embodied practice using interdisciplinary methods reveals transformative "engaged alchemies" that have been extensively deployed by contemporary disseminators of yoga. Readers will encounter how South Asian dietary regimens, musical practices, and breathing techniques (...) have been adapted into contemporaneous worlds of yoga practice both within, but also beyond, the Indian Ocean rim. The book brings the field of Modern Yoga Studies into productive dialogue with the fields of Indian Ocean Studies, Embodiment Studies, Food Studies, Ethnomusicology, and Pollution Studies. It will also be a valuable resource for both scholarly work and for teaching in the fields of Religious Studies, Anthropology, and South Asian Religions. (shrink)

Martin E. Rosenberg -/- The Gift of Silence: Towards an Anthropology of Jazz Improvisation as Neuro-Resistance. -/- ABSTRACT: -/- This essay addresses how the complex processes that occur during jazz improvisation enact behaviors that resemble the logic of gift exchange first described by Marcel Mauss. It is possible to bring to bear structural, sociological, political economical, deconstructive or even ethical approaches to what constitutes gift exchange during the performance of jazz. Yet, I would like to shift from focusing this analysis (...) of jazz improvisation with reference to the language of music as symbolic action (which all of these approaches require), to grounding improvisation in embodied and distributed cognition, the performance of which begins with a ritual gift of silence. By silence, I refer to the embodied, yet shared pure duration as felt synchrony within an individual performer, that extends to the members of an ensemble. Thus, I refer to both aesthetic and micro-political implications of embodied, yet also distributed musical cognition in real time. -/- For jazz musicians, embodied silence becomes the initial condition for processes of cognitive bifurcation. For it is bifurcation that attracts us to jazz in the first place. Here I expand my previous work establishing similarities in the behavior of bifurcating systems in physical and cognitive sciences to the unfolding of ambiguity in real time during improvisation with respect to polyphony, polytonality and polyrhythms in the history of jazz from Charlie Parker to Ornette Coleman. We can therefore re-conceptualize jazz improvisation as a subversive antidote for processes of determination identified in a sub-discipline of cultural studies called “cognitive capitalism.” By examining silence from this anthropological perspective, we can conceive of jazz performance as a ritualized resistance to top-down cognitive control immanent with social and digital networks. The ritual enactment that is jazz improvisation points towards an aesthetics of bifurcation that is simultaneously a micro-politics of neuro-resistance. In other words, I argue that freedom of thought requires freedom from thought as an initial condition. -/- Yet, I emphasize the empirical rather than mystical grounds to this gift of silence. The valorization of silence by jazz musicians is not simply etiquette, an ethics of reciprocity for performers exchanging “riffs,” but an initial condition that jazz performers (and, I would argue, listeners) experience in their bodies, thus linking embodied cognition to a collective field of cultural production that emerges from each embodied individual, and yet also pervades the ensemble in ways reminiscent of feedback loops in complex systems. The recent and remarkable research on music and the brain has demonstrated that it is now possible to describe jazz improvisation as possessing both embodied and distributed cognitive properties. The emergent neuronal ensemble behavior within the individual that is visible in jazz improvisors, discovered by the neuroscientists at Johns Hopkins led by Charles Limb, bears striking resemblance to the interactive behaviors of the jazz ensemble itself. Thus, it is by recourse to recent research by myself and others into the cognitive neuroscience of music generally, and jazz improvisation specifically, that the empirical grounds for an anthropology of neuro-resistance become visible. (shrink)

This essay is an attempt to understand the reasons for the current crisis of musical aesthetics. It examines the function of this discipline as the mediator between philosophy and musicology, it inquires into its connections with the ideals of autonomy, beauty and free subjectivity. During the 20th Century, major changes in society and their communication forms happened; anthropology and semiotics began to compete with aesthetics in explaining musical facts. The last paragraphs test the chances of resistance of musical aesthetics ; (...) musical meaning appears to be the only question which endured in spite of the considerable fragmentation and loss of profile of musical experience. (shrink)

Since its founding in the nineteenth century, social anthropology has been seen as the study of exotic peoples in faraway places. But today more and more anthropologists are dedicating themselves not just to observing but to understanding and helping solve social problems wherever they occur--in international aid organizations, British TV studios, American hospitals, or racist enclaves in Eastern Europe, for example. In Exotic No More , an initiative of the Royal Anthropological Institute, some of today's most respected anthropologists demonstrate, in (...) clear, unpretentious prose, the tremendous contributions that anthropology can make to contemporary society. They cover issues ranging from fundamentalism to forced migration, child labor to crack dealing, human rights to hunger, ethnicity to environmentalism, intellectual property rights to international capitalisms. But Exotic No More is more than a litany of gloom and doom the essays also explore topics usually associated with leisure or "high" culture, including the media, visual arts, tourism, and music. Each author uses specific examples from their fieldwork to illustrate their discussions, and 62 photographs enliven the text. Throughout the book, the contributors highlight anthropology's commitment to taking people seriously on their own terms, paying close attention to what they are saying and doing, and trying to understand how they see the world and why. Sometimes this bottom-up perspective makes the strange familiar, but it can also make the familiar strange, exposing the cultural basis of seemingly "natural" behaviors and challenging us to rethink some of our most cherished ideas--about gender, "free" markets, "race," and "refugees," among many others. Contributors: William O. Beeman Philippe Bourgois John Chernoff E. Valentine Daniel Alex de Waal Judith Ennew James Fairhead Sarah Franklin Michael Gilsenan Faye Ginsburg Alma Gottlieb Christopher Hann Faye V. Harrison Richard Jenkins Melissa Leach Margaret Lock Jeremy MacClancy Jonathan Mazower Ellen Messer A. David Napier Nancy Scheper-Hughes Jane Schneider Parker Shipton Christopher B. Steiner. (shrink)