This article argues that Busby Berkeley’s unique musical spectacles invert the cinematic taxonomy found in Deleuze’s twin volumes on Cinema through the process of ‘becoming-music.’ By taking up a form that I term ‘visual-music,’ in which musical properties are incorporated within the image, Berkeley’s work problematizes Deleuze’s philosophy of cinematic sound and benefits instead from the conceptions of the musical refrain and rhythm located in Deleuze and Guattari’s A Thousand Plateaus. Breaking away from traditional Deleuzian readings of (...) cinema, I demonstrate, through a close textual analysis of Berkeley’s use of both the aural and visual refrain, that Berkeley’s images become ‘visual-music’ in order to deterritorialize the sound rather than the image. Using the ‘Shadow Waltz’ from Gold Diggers of 1933 as an example, I argue that a Berkeley musical number resituates the music’s territory of soft romanticism to reveal the sexuality inherent in the sonic forms of popular music. (shrink)

In this paper I offer critical attention to the notion of atmosphere in relation to music. By exploring the concept through the case study of the Closed Brethren worship services, I argue that atmosphere may provide analytical tools to explore the ineffable in ecclesial practices. Music, just as atmosphere, commonly occupies a realm of ineffability and undermines notions such as inside and outside, subject and object. For this reason I present music as a means of knowing the (...) atmosphere. The first part of this paper points to the limits of an understanding of atmosphere as a constellation of things, as proposed by Gernot Böhme. In contrast to this, Hermann Schmitz conceptualises atmosphere as half-thing which suggests movement. Drawing on this, I propose to methodologically approach atmospheres as movements. Consequently, in the second part of this paper I closely analyse two motions as they cohere in Closed Brethren worship services: first, becoming (Deleuze and Guattari), a movement on the level of the individual worshiper; secondly, territorialisation (Deleuze and Guattari), a movement of the atmosphere towards its solidification. Here music as atmosphere is not a system of moral signification but a generative power affording intimate processes of divine encounter, whilst producing affective denominational difference. (shrink)

Much controversy surrounds Schenker's mature theory and its attempt to explain musical pitch motion. Becoming Heinrich Schenker brings a new perspective to Schenker's theoretical work, showing that ideas characteristic of his mature theory, although in many respects fundamentally different, developed logically out of his earlier ideas. Robert P. Morgan provides an introduction to Schenker's mature theory and traces its development through all of his major publications, considering each in detail and with numerous music examples. Morgan also explores the (...) relationship between Schenker's theory and his troubled ideology, which crucially influenced the evolution of his ideas and was heavily dependent upon both the empirical and idealist strains of contemporary German philosophical thought. Relying where possible on quotations from Schenker's own words, this book offers a balanced approach to his theory and a unique overview of this central music figure, generally considered to be the most prominent music theorist of the twentieth century. (shrink)

In this article, Music-in-Becoming, I explore the integrative practices of composing music and researching its emergence. The article reports from an artistic research project on composition as lived experience. The music that serves as the raw material for my inquiry consists of four pieces for three overtone-skilled singers and one double bass player for the concert Ørenslyd, all performed in Berlin in October 2019. My intention is to show how composing music takes place in a (...) phenomenological in-between of composer and work that is driven by attentive listening and the complementary skills of activeness and receptiveness. In this in-between, the skill of listening plays a crucial role as it is both participatory and receptive. I further examine and discuss the methods I use during this exploration, influenced by both artistic research and phenomenological research. The two methodological approaches are compared regarding their characteristic differences and their potential kinships. My presumption is that the active-receptive act of composing at its core is a phenomenological-hermeneutic practice. I conclude that artistic research seems to be profoundly influenced by phenomenology, whereas not all phenomenological research is influenced by art as practices or as a research approach. (shrink)

Eric Booth has completed the curriculum for today’s classical music performers in The Music Teaching Artist’s Bible: Becoming a Virtuoso Educator (2009). This book could handily serve as the text for a class designed to help music performance majors learn about the items that are usually ignored within today’s skill-based music performance degrees offered in most American universities and conservatories. Booth makes the case that many classically trained performing musicians unknowingly do more harm than good (...) for their audiences and careers. He repeatedly states that a better understanding of the issues addressed in his book will equal more gigs and employment for musicians while providing better experiences for .. (shrink)

Thomas Mann's Doctor Faustus traces the life of the composer Adrian Leverkühn, whose career culminates in the compositions Apocalipsis cum figuris and The Lamentation of Doctor Faustus. Mann treats Apocalipsis as the endpoint of a dangerous modernism allied to fascism, and The Lamentation as its partial antidote. From Deleuze and Guattari's perspective, however, Apocalipsis is a positive musical becoming-other and The Lamentation a regression. Crucial to the contrasting interpretations of Apocalipsis are two very different conceptions of modernity and fascism, (...) that of Deleuze and Guattari providing a means of valorising becoming as a mode of aesthetic and political invention and redefining modernism and fascism. (shrink)

In this article, I explore the music-in-becoming as a dialogue. The thesis of my inquiry is that during musical composition, the composer’s listening is marked by both activeness and receptiveness; actively structuring the sounding work, and receptively letting the work express itself as it takes its form. Composer and work merge in sudden moments of attunement, the sensation of coherence between the so-fare completed and the anticipation of the as-of-yet unformed work. Composition is all about balancing writing as (...) a handicraft with those rare, unexpected moments of attunement. I discuss the emerging work’s invitational character and the fact that during composition, the piece seems to request the composer’s attention. The audibility of the work’s voice depends on the composer’s ability to listen. Finally, the methodological considerations concerning sonic-artistic research show that researching sonic experiences requires competencies of being attentive, responsive, and reflective. Attentiveness is related to thorough listening experiences of the emerging music, responsiveness appears as a vital skill in a composer’s dialoguing with the music-in-becoming, and reflectiveness is associated with empirically documenting the processes. At the heart of this sonic research project, I place my lived experience of composing and the intimate relation between sound and listening. (shrink)

According to musicologist Christopher Small, the treatment of music in musicology carries fundamentally flawed historical premises. Instead of focusing on music through art „objects“, anything understood as „music“ should be examined on the grounds of its spatiotemporal appearance, as a social activity of musicking and the unfolding event. The emphasis of the verb „musicking“ instead of the substantive „music“ signifies a reinterpretation of a static into a processual concept. According to Small, musical meaning is formed with (...) regards to the time and space of the immersive situation and the bodily encounter of participating individuals. This processual intervention over existing musical concepts through reinterpretation as „musicking“ opens the door to a broader philosophical scope. In order to approach two seemingly opposed interpretations of the subject matter mentioned above, I will attempt a reinterpretation of Small with reference to Arthur Schopenhauer’s concept of the „Will“, but with a more detailed emphasis on the expanded principle of the „Dyonisian“ and „Apollonian“ as suggested by Friedrich Nietzsche. I will further suggest some criteria for interpretation of any potential „musicking“ through several points of contention between Small’s musicology and Nietzsche’s philosophy. For this, I will utilize Nietzsche’s philosophical opposition between Being and Becoming serving as foundations of knowledge and art. The suggestion is that, while the entanglement of the Apollonian „image“ and the Dyonisian „rush“ enables the emergence of music as art, the foundation of Small’s „musicking“ lies in the non-ethical character of the Dyonisian—in what lies „behind“ the phenomenon and conceptualization of it. This ultimately questions the implication of music „as“ art, as it suggests that any justification thereof can not be considered outside of the subjective disposition encountering the event, nor beyond the individual disposition emerging within it. „Musicking“ doesn’t emerge with any cultural, social, symbolic or teleological purpose, but attains any one of these as soon as it’s designated „as-such“ by those principles that enable the concept to emerge in the first place. This, despite its broadly influential treatise, ultimately reveals the limits of Small’s „musicking“. (shrink)

In this chapter, I discuss the kinds of understanding expected of and evinced by skilled listeners, performers, analysts, and composers. I confine the discussion to Western, purely instrumental music, mainly with the classical tradition in mind.[1] And I refer primarily to the Anglophone literature of "analytic" philosophy of music. As will become apparent, my concern is with an analysis that maps what are meant to be familiar aspects of musical experience. I investigate the various understandings expected of an (...) accomplished listener, the performer, the music analyst, and the composer. (shrink)

Previous work demonstrates that music with more surprising chords tends to be perceived as more enjoyable than music with more conventional harmonic structures. In that work, harmonic surprise was computed based upon a static distribution of chords. This would assume that harmonic surprise is constant over time, and the effect of harmonic surprise on music preference is similarly static. In this study we assess that assumption and establish that the relationship between harmonic surprise and music preference (...) is not constant as time goes on. Analyses of harmonic surprise and preference from 1958 to 1991 showed increased harmonic surprise over time, and that this increase was significantly more pronounced in preferred songs. Separate analyses showed similar increases over the years from 2000 to 2019. As such, these findings provide evidence that the human perception of tonality is influenced by exposure. Baseline harmonic expectations that were developed through listening to the music of “yesterday” are violated in the music of “today,” leading to preference. Then, once the music of “today” provides the baseline expectations for the music of “tomorrow,” more pronounced violations—and with them, higher harmonic surprise values—become associated with preference formation. We call this phenomenon the “Inflationary-Surprise Hypothesis.” Support for this hypothesis could impact the understanding of how the perception of tonality, and other statistical regularities, are developed in the human brain. (shrink)

Music as Agency: Diversities of Perspectives on Artistic Citizenship focuses on the concept, application, interpretation and manifestation of Artistic Citizenship in diverse contexts. The key concepts that the book tackles are: Cultural experience, artistic practice, musical identities, equity, democracy, community, activism, resistance and empathy. In giving an overview of aspects of the compound concept of artistic citizenship, Akuno and Westvall present the outcome of research and interrogation of practice by a global network of educator-researchers from Africa, the Americas, Asia (...) and Europe. The book articulates notions of artistic citizenship, coming up with the term artizenship as a derivative of the composite term. It further explains and analyses practical ways of perceiving and relating to art spaces, art practices and arts objects towards belonging, being and becoming in a global space that is disparate, polarised and often alienating, and thus responding to issues such as social justice, identity, participation and inclusion. With a focus on music, the book targets musicians, scholars, educators and enthusiasts keen on gaining a deeper understanding of how music and musicking can influence human interactions towards social integration, trust, cultural awareness and intercultural understanding. (shrink)

I respond to Kersten’s criticism in his article “Music and Cognitive Extension” of my approach to the musically extended emotional mind in Krueger (2014). I specify how we manipulate—and in so doing, integrate with—music when, as active listeners, we become part of a musically extended cognitive system. I also indicate how Kersten’s account might be enriched by paying closer attention to the way that music functions as an environmental artifact for emotion regulation.

Is musical practice 'real' - and how is it connected with everyday life? Eva-Maria Houben shows that making music changes as soon as its meaning is not sought in a purpose-oriented production of results, but in performing music as an activity - indeed, as play. Musical practice, Eva-Maria Houben contends, should be understood as open and never finished. Such an emphasis on repetition can free us from perfection, productivity, and purpose, allowing meaning to unfold in specific situations, places, (...) and relationships. Thus understood, musical practice can become a form of life and a reality in its own right. (shrink)

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering (...) issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition. (shrink)

This philosophically-inspired approach to the perception of form in early nineteenth-century music invites listeners and especially performers to assess and participate in the interpretation of transformative formal processes as they unfold in time. It proposes new ways of hearing beloved works of the romantic generation as representative of their striving for novel, intensely self-reflective modes of communication.

Although downloading music through unapproved channels is illegal, statistics indicate that it is widespread. The following study examines the attitudes and perceptions of college students that are potentially engaged in music downloading. The methodology includes a content analysis of the recommendations written to answer an ethical vignette. The vignette presented the case of a subject who faces the dilemma of whether or not to download music illegally. Analyses of the final reports indicate that there is a vast (...) and inconsistent array of actions and underlying feelings toward digital music downloading. The findings reveal inconsistencies between participants’ recommendations (what the subject should do) and their attitudes and opinions on the matter (what they would do in a similar situation). These inconsistencies support the notion that as technology evolves, it creates discrepancies between the way things are and the way the law expects them to be, leaving society in a muddle, trying to reconcile the two. What remains to be seen is whether the discrepancy in the case of music downloading becomes extreme enough that the law changes to accommodate an increasingly prevalent behavior, or whether new business models will emerge to bridge the gap between legality and reality. (shrink)

Most music we hear comes to us via a recording medium on which sound has been stored. Such remoteness of music heard from music made has become so commonplace it is rarely considered. _Musical Performance: A Philosophical Study_ considers the implications of this separation for live musical performance and music-making. Rather than examining the composition or perception of music as most philosophical accounts of music do, Stan Godlovitch takes up the problem of how the (...) tradition of active music playing and performing has been challenged by technology and what problems this poses for philosophical aesthetics. Where does does the value of musical performance lie? Is human performance of music a mere transfer medium? Is the performance of music more expressive than recorded music? Musical Performance poses questions such as these to develop a fascinating account of music today. musicians - but via some recording medium on which sound has been stored. (shrink)

A musical phrase, or, for that matter, a musical unit of any size or shape, becomes an image whenever we imagine it to be invested with a content whose origins lie outside music. Such a content, according to the theory developed here, constitutes the image's conventional significance; it accounts for whatever strikes us about the image as having a common and familiar ring. That being so, the origins in question must be coincident with the fundamental ideas--the archetypes--that have been (...) traditionally represented as underlying and unifying Western culture. As the theoretical constructs they are, arehctypes are never encountered directly. It is in the form of their local variants that we make contact with the archetypes, and it is at this local level that the present book sets its sights: style, the typical or shared element in the musical imagery of a time and place, is studies as a function of Zeitgeist, the complex of beliefs, values, and ideals of a community. The approach is both thematic and historical, in keeping with a key objective of archetypal criticism. Far from repudiating the popular notion that music expresses the human emotions, this study attempts to recast emotion theory by examining musical images for kinds of behavior from which we may infer not only emotion (pathos, effectus) but also personality (ethos). Ethical and affective distinctions are very sharply drawn, in an effort to clarify and widen the vocabulary of musical commentary, as well as to provide cultural and historical backing for contents long considered the cliches of musical expression. (shrink)

This book explores the democratization of music in our current era made possible by digital technologies. It investigates how the utopian ideals and experimental practices of 20th-century musicians helped to spawn the recent seismic disruptions to the art form. In the current environment of networked connectivity, music has become ubiquitous and increasingly intertwined with everyday life, rendering previous models of creation, performance, dissemination, and consumption largely obsolete.

Kramer was one of the most visionary musical thinkers of the second half of the 20th century. In his The Time of Music, he approached the idea of the many different ways that time itself is articulated musically. This book has become influential among composers, theorists, and aestheticians. Now, in his almost completed text written before his untimely death in 2004, he examines the concept of postmodernism in music. Kramer created a series of markers by which we can (...) identify postmodern works. He suggests that the postmodern project actually creates a radically different relationship between the composer and listener. Written with wit, precision, and at times playfully subverting traditional tropes to make a very serious point about this difference, Postmodern Music, Postmodern Listening leads us to a strongly grounded intellectual basis for stylistic description and an intuitive sensibility of what postmodernism in music entails. Postmodern Music, Postmodern Listening is an examination of how musical postmodernism is not just a style or movement, but a fundamental shift in the relationship between composer and listener. The result is a multifaceted and provocative look at a critical turning point in music history, one whose implications we are only just beginning to understand. (shrink)

Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art (...) could cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)

This is the first volume to mobilize encounters between the work of Gilles Deleuze and Félix Guattari and the rich developments in cultural studies of music and sound. The book takes seriously the intellectual and political challenge that the process philosophy of Deleuze and Guattari poses for previous understandings of music as permanent objects and primarily discursive texts. By elaborating on the concepts of Deleuze and Guattari in innovative ways, the chapters of the book demonstrate how musical and (...) sonic practices and expressions can be reconsidered as instances of becoming, actors in assemblages, and actualizations of virtual tendencies. The collection pushes notions of music and sound beyond such long-term paradigms as identity thinking, the privileging of signification, and the centrality of the human subject. The chapters of the volume bring a range of new topics and methodological approaches in contact with Deleuze and Guattari. These span from movement improvisation, jazz and western art music studies, sound and performance art and reality TV talent shows to deaf musicians and indigenous music. The book also highlights such fresh ways of doing analysis and shaping the methodological tools of music and sound studies that are enabled by Deleuze and Guattari's philosophy. Their philosophy, too, gains renewed capacities and potential when responding to ethnographic, cultural, ethnomusicological, participatory, aesthetic, new materialist, feminist and queer perspectives to music and sound. (shrink)

Musical idioms may appear side by side in a wide variety of historical, group-based or individual compositional styles used in the postmodern compositions. The reception interpretation of musical works is based on the idioms of musical speech as meaningful and expressive constants. Not only do the reveal the positive or negative ties of current musical language to the musical poetics from previous periods, they also update their meanings. The idiomatic musical structures naturally grow into the social system of music (...) and thus become part of the deeper levels of European compositional tradition. Musical meanings are becoming typical for the particular sectors of European musical culture, and may even become their emblem. It is even likely that the idioms cease to be seen as a complex musical structure in the process of reception and they become a plain composition material, singular units of musical language. Using the postmodern composition Apolloopera by Marek Piaček, we illustrate the in-depth reference platform of musical idioms and examine the role of idiomatic units in the structure of a postmodern piece. (shrink)

Many people claim that music is a universal language considering the impact and beneficial results that it usually triggers, whereas others reject the idea due to contextual or cultural sentiments and parameters that must be considered. Both sides’ arguments make sense but, despite skepticism, music should be considered as a universal language, which becomes clear by depicting it in the context of peacebuilding and by exploring its linguistics and therapeutic effects, through various domains such as philosophy, music (...) theory and the contemporary world. The author argues that considering the counter-arguments and balancing it with this central claim, it is possible to reach an inspiring and complementary common ground between performing arts as music and philosophy. (shrink)

In this book the concept of functionalism, well-known in 20th-century architecture and design, is used to investigate the musical thoughts of two of the leading composers at the time of the Bauhaus, the time of Adolf Loos and Le Corbusier. Functionalism may be characterized by the functional treatment of the chosen material, by functional design, and by a focus on the work's intended function. This tripartite requirement also defines the concept of musical functionalism as developed in this study, and it (...) serves as the foundation for a presentation of Schoenberg's and Hindemith's thoughts on the subject. Examined through the lens of musical functionalism, common traits between the two composers become evident, despite all their individual characteristics as artists of noticeable integrity. Discussions of the musical material, of musical form, and of the function of music allow the author to reveal a shared epistemological base underlying the external dissimilarities of the two composers' style and language. (shrink)

The present research deals with the topic of music in creative society, analyses various intersections between music and game. The research is focused on the relevant topic of mutual relations between music and leadership. Both, possibilities and advantages of music, as well as its dangers, when used for the purposes of manipulation, attract interest of scholars, philosophers and sociologists. The authors deal with the influence of music in the process of self-creation, or opposite – self-destruction. (...) The research begins with a brief philosophical review of possible advantages and disadvantages of music and its influence on the process of education of youths and formation of the qualities of leaders. As said, this research is focused on a stream (trend) which is evaluated between leadership and music. A picture from a probable scenario and future is presented which has not sensed till now. This mentioned picture can be considered as a weak signal from a bigger universal image. The hermeneutic approach and trend analysis were the main methods of this research, and finally the authors come to the conclusion that in the world of music one may expect fundamental changes and their influence would even grow. When properly used, music will become an effective tool in the process of development of leadership skills. (shrink)

Human music and language are two systems of communication and expression that, while historically considered to overlap, have become increasingly divergent in their approach and study. Music and language almost certainly co-evolved and emerged from the same semiotic field, and this relationship as well as co-origin are actively researched and debated. For the sake of evaluating the semiotic content of zoomusicology, we investigate music from a ‘bottom-up’ biosemiotic functionalist account considering iconic, indexical, and symbolic forms of meaning (...) not in a hierarchy but according to their effects on agents. Such an approach avoids overintellectualizing the representational aspects of music, and instead inverts, as it were, the traditional hierarchy of semiotic categories to produce illocutionary effects. Understanding aesthetics and action not as a priori separate but rather fundamentally co-arising elements of the same events. The focus of musicality again returns to interpretation and how semiosis precipitates expression. (shrink)

Music can answer questions that often confound more discursive modes of thought. Music takes concepts that are all too familiar, reframes these concepts, and returns them to us with incisive clarity and renewed vision. Unity is one of these "all too familiar concepts," thrown around by politicians, journalists, and pastors as if we all know what it means. By turning to music, especially musical space, the relational structure of unity becomes less abstract and more tangible within our (...) philosophy. Arnold Schoenberg, as an inherently musical thinker, is our guide in this study of unity. His reworking of musical structure, dissonance, and metaphysics transformed the tonal language and aesthetic landscape of twentieth century music. His philosophy of compositional unity helps us to deconstruct and reconceive how unity can be understood and worked with both aesthetically and theologically. This project also critiques Schoenberg's often monadic musical metaphysic by turning to Colin Gunton's conviction that the particularity and unity at the heart of God's triune being should guide all of our theological endeavors. Throughout, music accompanies our thinking, demonstrating not only how theology can benefit the philosophy of music but also how the philosophy of music can enrich and augment theological discourse. (shrink)

In claiming that metadata possess the power to put historical awareness into the act of listening, this article examines digital music use as an aesthetic situation driven by potentialities of becoming. Working from a theoretical foundation amalgamating digital music archives and metadata as environments the article discusses Georgina Born’s notion of musical assemblages alongside the concept of virtuality, and by letting these meet the article argues for a musical assemblage built from sensibilities of becoming rather than (...) layers of mediation. The inner workings of digital music use constitute an ecology in which recorded music history moves and reconnects, and this makes the historicity of recorded music be fluid, thus turning listening into a historicised action. In exemplifying this, the article discusses some of the strategic programming of metadata on the digital music platform Diskoteket, and through an analysis of sampled music, the prospects of recorded music’s historicity are shown as affective capacities. (shrink)

Music is the carrier through which human beings express their emotions. It can clean up their hearts and seek emotional resonance. The combination of music and artificial intelligence, when music meets artificial intelligence, the mathematical logic part of data and algorithm replaces the image thinking, resulting in automatic music production. The basic principle of music creation is to use artificial intelligence technology to conduct in-depth training on a large number of songs, and then build a (...) database. Then, within a certain period of time, extract a segment from several songs, and then decompose it to form a new melody. The automatic music production is the collision of music and technology. With the flying of code and notes, it creates a different kind of beauty. Music culture is a new field of music application. With its refreshing audio-visual effect, it has made people have a new understanding of music and has become a hot topic in current mass cultural activities. The sound quality characteristics of music culture programs determine the characteristics of simple, fast and efficient design. However, the current audio and video design still stays in the traditional audio and video form design, with low design efficiency, long cycle, high cost and high requirements for designers. In view of the fact that the traditional audio and video design mode in China's music and cultural programs cannot meet the needs of performance programs at present, this paper proposes a design scheme of audio and visual effects of music and cultural programs with intelligent devices as the core, and develops a complete set of audio and visual effects aided design system on this basis. (shrink)

Enjoyment of negative emotions in music is seen by many as a paradox. This paper argues that the paradox exists because it is difficult to view the process that generates enjoyment as being part of the the same system that also generates the subjective negative feeling. Compensation theories explain the paradox as the compensation of a negative emotion by the concomitant presence of one or more positive emotions. But compensation brings us no closer to explaining the paradox because it (...) does not explain how experiencing sadness itself is enjoyed. The solution proposed is that an emotion is determined by two critical processes—labelled motivational action tendency (MAT) and subjective feeling (SF). For many emotions the two processes are coupled in valence. For example, happiness has positive MAT and positive SF, annoyance has negative MAT and negative SF. However, in an aesthetic context, such as listening to music, emotion processes can become decoupled. Sadness retains its negative SF but the aversive, negative MAT is inhibited, leaving sadness to still be experienced as a negative valanced emotion, while contributing to the overall positive MAT. Individual differences, mood and previous experiences mediate the degree to which the aversive aspects of MAT are inhibited. The reason for hesitancy in considering or testing this parallel processes hypothesis, as well as the preponderance of research on sadness at the exclusion of other negative emotions, are discussed. (shrink)

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

Juslin & Vll's (J&V's) discussions of evaluative conditioning and episodic memory focus on circumstances in which music becomes associated with arbitrary life events. However, analyses of film music suggest that viewers experience consistent pairings between types of music and types of narrative content. Researchers have demonstrated that the emotional content of film music has a major impact on viewers' emotional experiences of a narrative.

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

A historically feminized profession, education in North America remains remarkably unaffected by feminism, with the notable exception of pedagogy and its impact on curriculum. The purpose of this paper is to describe characteristics of feminism that render it particularly useful and appropriate for developing potentialities in education and music education. As a set of flexible methodological tools informed by Gilles Deleuze's notions of philosophy and art, I argue feminism may contribute to education's becoming more efficacious, reflexive, and reflective (...) of the values of its participants. Its impetus involves ‘feminist imperative(s)’ to help in the sense articulated by Elizabeth Grosz: to provoke thought, challenge, and problematize. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Teaching Musical FictionMarcin Stawiarski (bio)IntroductionGiven the increasing interest in musico-literary studies, I wish to examine some ways in which music can be used for pedagogical purposes in teaching literature. It has been widely recognized that music and poetry sprang from the common origin of chant or incantation.1 Throughout the ages, the sister arts sometimes went hand in hand and sometimes parted company, but since the end of (...) the nineteenth century musical aspects have been used quite extensively in literature, either as a subject matter or as a wellhead of structures. The number of musically inspired twentieth-century novels bears evidence to this strengthening of musico-literary relationships.2 Contemporary interactive, interdisciplinary, and multimedial works of art or artistic events also testify to a close sisterhood between the arts. This phenomenon has come to be called intermediality, which is defined as using more than one artistic medium in the creation of a work of art. But then, examining musical aspects in literature demands specific knowledge of the musical field itself, thus raising questions about the limits and the difficulties of using musico-literary materials in class. Suppose the student is not knowledgeable at all about music. What, then, can be the input the teacher can offer the student without necessarily inundating the latter with too much information? Is it possible to avoid generalizations in drawing comparisons or distinctions between music and literature? And, is it relevant to deal with music in teaching fiction?I wish to suggest that there are pragmatic elements of music that may be used in teaching music-related texts without previous skills in the musical field. In this respect, music may serve as an enriching and fascinating teaching tool. The point I would like to make is that quite often music leads the text to raise questions about literariness itself, so that it becomes possible not only to discuss musico-literary interrelations but to tackle the specificity of literature through the prism of intermediality. [End Page 78]This article will deal with two kinds of musico-literary phenomena appearing in fiction. On the one hand, I wish to examine the implications of the historical and cultural background in musicalized texts as an inherent aspect of many novels. On the other hand, I wish to broach the question of the musicalization of fiction, that is to say, the transposition or imitation of musical forms in literature.Literature Speaking about MusicThe Need of a ContextIn dealing with musical contexts of literary texts, the teacher may bring the student's attention to bear on the variety of ways a text may be related to music. A typology of different musico-literary interrelations has been established by such critics as Calvin S. Brown3 or Steven P. Scher. In Scher one will find a useful chart dividing musico-literary studies into two categories: literary presence within the musical field (explored by musicology) and musical presence within the literary field (explored by literary studies). The latter may be subdivided into word music, musical structures, and verbal music. This typology has been furthered by Werner Wolf in his critical work on the musicalization of fiction. Yet too detailed a categorization may seem difficult to put into practice in a classroom setting. Its principle drawback lies in the difficulty to sever one musical phenomenon in literature from the other. In numerous cases it seems impossible to drive an unequivocal wedge between (a) prosodic phenomena, appertaining to word music or musicality; (b) exclusively thematic or topical elements; and (c) specifically structural transpositions. Such an accurate classification, therefore, preferably would be used with more advanced students.The thematic or topical relationship I want to focus on in this section is by far the easiest to get across to students since it does not require musical skills. This approach is roughly tantamount to Scher's verbal music or Wolf's thematization,4 and it appears in texts dealing with music explicitly. Many texts resort to an extramusical (or paramusical) rather than a purely musical content. In other words, it is the critical or mythical context surrounding a given musical work that is often used in fiction. In reading Rose Tremain... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music Education for the New Millennium: Theory and Practice Futures for Music Teaching and LearningSean PenderelMusic Education for the New Millennium: Theory and Practice Futures for Music Teaching and Learning, edited by David K. Lines. Malden, MA: Blackwell Publishing, 2005, 150 pp., $34.95 paper.Music Education for the New Millennium is a 150-page collection of essays focused mainly upon philosophical introspection into the current condition (...) of the profession. Within this volume there are eight philosophic essays and one quantitative research article, by Alastair McPhee, Peter Stollery, and Ros McMillan. Other essays, beyond the work of the editor, were contributed by Thomas Regelski, Wayne Bowman, Robert Davis, Lucy Green, David Elliott, Constantijn Koopman, and Janet Mansfield. This collection contributes to our contemporary quandaries about aesthetics and praxialism in addition to adding pertinent questions for both philosophy and music education.The overall purpose of this volume is to stimulate thinking in ways not accounted for in the classroom or studio environments and expand upon the broader discourses impacting the profession and society (3). Given that Lines organized this volume as a collection about a specified theme, I will approach this review threefold. First, I will examine overall features that were promising and those that were disappointing. Second, each chapter's contributions will be examined in light of the aim of the volume. Lastly, each essay will also be examined for its contributions apart from the volume, due to the fact that all of the works can stand alone.Within this framework, six themes continually emerged throughout the essays. These themes involved the use and abuse of musical meaning; the construction of musical meaning and understanding; language used within advocacy; the difficulties presented by both aesthetics and praxialism; the problems posed by our focus upon psychology; and lastly, the "what works" mentality of efficient systems. These themes are incredibly relevant to the contemporary discussion surrounding music education in addition to benefiting the whole of the profession. In some fashion or another, each author confronts one to many of these issues efficiently and effectively, to the point that the volume and its aim is solidified within Bowman's essay, "Music Education in Nihilistic Times." As a negative point, however, an internal organization around these themes never seems to appear, and without this the volume lacks a certain flow; each chapter stands alone. Although internal organization is petty globally for this volume, it does affect its readability.Regelski's essay appears first and critiques both traditional aesthetics and praxial philosophy. Interestingly, he weighs the potential dangers posed by both and drifts toward the notion of praxis while maintaining a certain aesthetic influence within his philosophy. Through music education's abuse of aesthetics, Regelski chronicles the elevation of experience beyond societal values of participation, production, and the process of music creation. Due to this, the profession has been subject to a certain dependency upon the positive aesthetic experience rather than on the participatory process of education. Furthermore, he notes that aesthetics, when stretched to its philosophic extreme, has had a tendency to become exclusive and elitist. I liken [End Page 117] this to the Gnostic practices within early Christianity. This sect valued a spiritual/aesthetic experience and its resulting "enlightenment," which occurred during a state of ecstasy, to the point of elevating those who had experienced this moment beyond those who had not.To curb this movement, Regelski suggests redefining aesthetics in the tradition of Dewey and Wittgenstein rather than that of Kant. In the former, the aesthetics are tied directly to the using of the object, or the practice of doing and creating. In contrast, in the Kantian tradition, which has dominated music philosophy, the experience becomes removed from the practice and is elevated to a position of esteem, beyond that of understanding. Likewise, praxialism, when taken to its extreme, has the potential to suffer from breadth without depth, which may result in a loss of content and depth of understanding. Regelski suggests that what needs to occur is a balance of depth and breadth with a focus on the development of musicianship. If this occurs then the experience will become valued as a result of participation in the... (shrink)

Stress is increasingly being recognized as one of the main factors that is negatively affecting our health, and therefore there is a need to regulate daily stress and prevent long-term stress. This need seems particularly important for adults with mild intellectual disabilities who have been shown to have more difficulties coping with stress than adults without intellectual disabilities. Hence, the development of music therapy interventions for stress reduction, particularly within populations where needs may be greater, is becoming increasingly (...) important. In order to gain more insight into the practice-based knowledge on how music therapists lower stress levels of their patients with MID during music therapy sessions, we conducted focus group interviews with music therapists working with adults with MID from different countries and clinical institutions in Europe. Results provide an overview of the most-used interventions for stress reduction within and outside of music. Data-analysis resulted in the further specification of therapeutic goals, intervention techniques, the use of musical instruments, and related therapeutic change factors. The main findings indicate that music therapists used little to no receptive interventions for stress reduction, but preferred to use active interventions, which were mainly based on musical improvisation. Results show that three therapy goals for stress relief could be distinguished. The goal of “synchronizing” can be seen as a sub goal because it often precedes working on the other two goals of “tension release” or “direct relaxation,” which can also be seen as two ways of reaching stress reduction in adults with MID through music therapy interventions. Furthermore, the tempo and the dynamics of the music are considered as the most important musical components to reduce stress in adults with MID. Practical implications for stress-reducing music therapy interventions for adults with MID are discussed as well as recommendations for future research. (shrink)

In this work we present the complex relationship between sound and color in musical creation throughout history that continues to be fruitful in current musical composition. Synesthesia in music establishes a correspondence between sound and color and has been a constant debate since the 17th century. The complex nature of sound appears from ancient Greece in the school of Pythagoras in which the number becomes the configurator of harmony. Since then, different aesthetic attempts have arisen to relate color and (...) sound that reach today's electronic procedures in contemporary music. (shrink)

In a society where mobility, globalization and contact with people from other cultures have become its basic descriptors, the enhancement of plurilingualism and intercultural understanding seem to be of the utmost concern. From a Positive Psychology Perspective, agency is the human capacity to affect other people positively or negatively through their actions. This agentic vision can be related to mediation, a concept rooted in the socio-cultural learning theory where social interaction is considered a fundamental cornerstone in the development of cognition. (...) Social interactions in the language learning setting may be facilitated through musical activities due to its social bonding effect. This paper tries to offer insights on how a musical-mediated experience in language learning may develop students’ interpersonal and collaborative competences to become active members of a more inclusive society. Mediation, considered as a paradigm shift in the foreign language classroom and the different out-of-class language learning possibilities, could also provide an environment where learners maximize their emotional intelligence. Our paper focuses on this paradigm shift spearheaded by the CEFR Companion Volume and the considerable repercussions it is bound to have for foreign language didactics, as cooperative tasks become central to foreign language learning. We hypothesize that mediated language learning experiences imply a socioemotional change in learners, focusing on the others, on their needs and interests, by trying to help them understand texts, concepts or facilitating communication with their peers. An intervention with a musical-mediated language learning experience was designed and implemented in the classroom. A self assessment scale with mediation descriptors and the socioemotional expertise scale (SEE) were administered. Results show that students become more mindful of their strengths, of their capacity for collaborating and team working. This leads to more awareness of their mediation skills. Students’ mediation skills correlate significantly with their socio-emotional skills, more concretely with their expressivity. The implementation of a musical-mediated experience also promoted tolerance and enhanced learners’ intrinsic motivation for language learning at the same time as they acknowledged their diversity. (shrink)

Context: Neurophenomenology lies at a rich intersection of neuroscience and lived human experience, as described by phenomenology. As a new discipline, it is open to many new questions, methods, and proposals. Problem: The best available scientific ontology for neurophenomenology is based in dynamical systems. However, dynamical systems afford myriad strategies for organizing and representing neurodynamics, just as phenomenology presents an array of aspects of experience to be captured. Here, the focus is on the pervasive experience of subjective time. There is (...) a need for concepts that describe synchronic (parallel) features of experience as well as diachronic (dynamic) structures of temporal objects. Method: The paper includes an illustrative discussion of the role of temporality in the construction of the awareness of objects, in the tradition of Husserl, James, and most of 20th century phenomenology. Temporality illuminates desiderata for the dynamical concepts needed for experiment and explanation in neurophenomenology. Results: The structure of music – rather than language – is proposed as a source for descriptive and explanatory concepts in a neurophenomenology that encompasses the pervasive experience of duration, stability, passing time, and change. Implications: The toolbox of cognitive musicology suddenly becomes available for dynamical systems approaches to the neurophenomenology of subjective time. The paper includes an illustrative empirical study of consonance and dissonance in application to an fMRI study of schizophrenia. Dissonance, in a sense strongly analogous to its acoustic musical meaning, characterizes schizophrenia at all times, while emerging in healthy brains only during distracting and demanding tasks. Constructivist content: Our experience of the present is a continuous and elaborate construction of the retention of the immediate past and anticipation of the immediate future. Musical concepts are almost entirely temporal and constructivist in this temporal sense – almost every element of music is constructed from relations to non-present musical/temporal contexts. Musicology may offer many new constructivist concepts and a way of thinking about the dynamical system that is the human brain. (shrink)

The Western history of aesthetics is characterised by tension between theory and practice. Musicians listen, play, and then listen more profoundly in order to play differently, adapt the body, and sense the environment. They become deeply involved in the sensorial qualities of music practice. Artistic practice refers to the original meaning of aesthetics - the senses. Whereas Baumgarten and Goethe explored the relationship between sensibility and reason, sensation and thinking, later philosophers of aesthetics deemed the sensorial to be confused (...) and unreliable and instead prioritised a cognitive or objective approach. Written by authors from the fields of philosophy, composition, performance, and artistic practice, 'Sensorial Aesthetics in Music Practices' repositions aesthetics as a domain of the sensible and explores the interaction between artists, life, and environment. Aesthetics becomes a field of sensorial and embodied experience involving temporal and spatial influences, implicit knowledge, and human characteristics. (shrink)

The confluence of creativity in music performance finds itself in performance practices and cultural motifs, the communication of the human body along with the instrument it interacts with, and individual performers’ perceptual, motor, and cognitive abilities that contribute to varied musical interpretations of the same piece or melodic line. The musical and artistic execution of a player, as well as the product of this phenomena can become determinant causes in a creative mental state. With advances in neurocognitive measures, the (...) state of one’s artistic intuition and execution has been a growing interest in understanding the creative thought process of human behavior, particularly in improvising artists. This article discusses the implementation on the concurrence of spontaneous (Type-1) and controlled (Type-2) processing modes that may be apparent in the perception of non-improvising artists on how melodic lines are perceived in music performance. Elucidating the cortical-subcortical activity in the dual-process model may extend to non-improvising musicians explored in the paradigm of neural correlates. These interactions may open new possibilities for expanding the repertoire of executive functions, creativity, and the coordinated activity of cortical-subcortical regions that regulate the free flow of artistic ideas and expressive spontaneity in future neuromusical research. (shrink)

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