Community-level legal and policy innovations or “experiments” can be important levers to improve health. States and localities are empowered through the 10th Amendment of the United States Constitution to use their police powers to protect the health and welfare of the public. Many legal and policy tools are available, including: the power to tax and spend; regulation; mandated education or disclosure of information, modifying the environment — whether built or natural ; and indirect regulation. These legal and policy interventions can (...) be targeted to specific needs at the community level and are often relatively low-cost, but high impact interventions. As every community is different, effective laws and policies will vary. This freedom allows states and localities to, as Justice Louis Brandeis argued, truly serve as “laboratories of democracy.”. (shrink)

In this paper I present an account of musical arousal that takes into account key demands of formalist philosophers such as Peter Kivy and Nick Zangwill. Formalists prioritise our understanding and appreciation of the music itself. As a result, they demand that any feelings we have in response to music must be directed at the music alone, without being distracted by non-musical associations. To accommodate these requirements I appeal to a mechanism of contagion which I synthesize with (...) the expectation-based arousal mechanism proposed by Leonard Meyer. This account connects musical expressivity and arousal in a way that formalists have rejected, but I argue that it provides the best explanation of our observations of listener responses while also focusing on the music itself. (shrink)

What is music, what is its value, and what does it mean? In this stimulating volume, Roger Scruton offers a comprehensive account of the nature and significance of music from the perspective of modern philosophy. The study begins with the metaphysics of sound. Scruton distinguishes sound from tone; analyzes rhythm, melody, and harmony; and explores the various dimensions of musical organization and musical meaning. Taking on various fashionable theories in the philosophy and theory of music, he presents (...) a compelling case for the moral significance of music, its place in our culture, and the need for taste and discrimination in performing and listening to it. Laying down principles for musical analysis and criticism, this bold work concludes with a theory of culture--and a devastating demolition of modern popular music. "A provocative new study."--The Guardian. (shrink)

Country music has not gotten much attention in philosophy. I introduce two philosophical issues that country music raises. First, country music is simple. Some people might think that its simplicity makes country music worse; I argue that simplicity is aesthetically valuable. The second issue is country music’s ideal of authenticity; fans and performers think that country should be real or genuine in a particular way. But country music scholars have debunked the idea that country (...) authenticity gets at anything real; widespread ideas about country authenticity are rooted in a racist and fabricated picture of country music. In discussing these two issues, I highlight the importance of community in country music. (shrink)

In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels of (...) automation and his ability to respond to emerging hazard or assessing driver’s ability to monitor the vehicle performing operational tasks in higher levels of automation. Unfitted DFS (e.g., drowsiness) may impact the driver ability respond to taking over abilities. This paper reviews the most appropriate psychophysiological indices in naturalistic driving while considering the DFS through exogenous sensors, providing the more efficient trade-off between reliability and intrusiveness. The DFS also originates from kinematic data of the vehicle, thus providing information that indirectly relates to drivers behaviour. The whole data should be synchronously processed, providing a diagnosis on the DFS, and bringing it to the attention of the decision maker in real time. Next, making the information available can be permanent or intermittent (or even undelivered), and may also depend on the automation level. Such interface can include recommendations for decision support or simply give neutral instruction. Mapping of relevant psychophysiological and behavioural indicators for DFS will enable practitioners and researchers provide reliable estimates, fitted to the level of automation. (shrink)

Neoliberalism co-opts noisy riots like feminism and hardcore music--can melancholic siren songs fight back?

Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: ‘felt time’ and ‘clock time’. For Langer, musical time is exclusively felt time, and in this sense, music is ‘time made audible’. However, Langer also postulates a ‘strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this essay, we take issue with the ‘strong suspension thesis’, its philosophic foundation and its implications. We argue that (...) this thesis is overstated and misdirecting insofar as it purports to describe what we experience when we hear music with understanding, and that it rests on a contested presupposition concerning the conceptual primacy of memory-time. (shrink)

The music and social bonding (MSB) hypothesis suggests that damage to brain regions in the proposed neurobiological model, including the ventromedial prefrontal cortex (vmPFC), would disrupt the social and emotional effects of music. This commentary evaluates prior research in persons with vmPFC damage in light of the predictions put forth by the MSB hypothesis.

This article takes up the appearance in the club circuits of Europe of cultural matter derived from radical peasant insurgency in West Bengal. It asks why the political content of cultural performance is so often glossed as exotica, and writes back some of the history of transnational, or internationalist, politics into this forum. Linking this to the celebrated Booker Prizewinning text of Arundhati Roy, and Gayatri Spivak's translations of Mahasweta Devi's writing, the contradictions of cultural politics are foregrounded.

This is the first comprehensive book-length introduction to the philosophy of Western music that fully integrates consideration of popular music and hybrid musical forms, especially song. Its author, Andrew Kania, begins by asking whether Bob Dylan should even have been eligible for the Nobel Prize in Literature, given that he is a musician. This motivates a discussion of music as an artistic medium, and what philosophy has to contribute to our thinking about music. Chapters 2-5 investigate (...) the most commonly defended sources of musical value: its emotional power, its form, and specifically musical features (such as pitch, rhythm, and harmony). In chapters 6-9, Kania explores issues arising from different musical practices, particularly work-performance (with a focus on classical music), improvisation (with a focus on jazz), and recording (with a focus on rock and pop). Chapter 10 examines the intersection of music and morality. The book ends with a consideration of what, ultimately, music is. (shrink)

This column is about the heaviest neutron star ever observed, an object that produces the largest gravitational fields ever directly measured. This discovery by X-ray astronomers was reported at the Spring Meeting of the American Physical Society, held April-1998 in Columbus, Ohio. As will be discussed below, the very large mass of the neutron star has important implications for our understanding of the strong nuclear force at very large densities.

Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.

Sadness is generally seen as a negative emotion, a response to distressing and adverse situations. In an aesthetic context, however, sadness is often associated with some degree of pleasure, as suggested by the ubiquity and popularity, throughout history, of music, plays, films and paintings with a sad content. Here, we focus on the fact that music regarded as sad is often experienced as pleasurable. Compared to other art forms, music has an exceptional ability to evoke a wide-range (...) of feelings and is especially beguiling when it deals with grief and sorrow. Why is it, then, that while human survival depends on preventing painful experiences, mental pain often turns out to be explicitly sought through music? In this article we consider why and how sad music can become pleasurable. We offer a framework to account for how listening to sad music can lead to positive feelings, contending that this effect hinges on correcting an ongoing homeostatic imbalance. Sadness evoked by music is found pleasurable (1) when it is perceived as non-threatening; (2) when it is aesthetically pleasing; and (3) when it produces psychological benefits such as mood regulation, and empathic feelings, caused, for example, by recollection of and reflection on past events. We also review neuroimaging studies related to music and emotion and focus on those that deal with sadness. Further exploration of the neural mechanisms through which stimuli that usually produce sadness can induce a positive affective state could help the development of effective therapies for disorders such as depression, in which the ability to experience pleasure is attenuated. (shrink)

In philosophy of music, formalists argue that pure instrumental music is unable to represent any content without the help of lyrics, titles, or dramatic context. In particular, they deny that music’s use of convention counts as a genuine case of representation because only intrinsic means of representing counts and conventions are extrinsic to the sound structures making up music. In this paper, I argue that convention should count as a way for music to genuinely represent (...) content for two reasons. First, the view that only intrinsic ways of representing counts is too stringent. If use can ground meaning in language, then use might also ground meaning (and representation) in music, too. Second, even if we were to insist on intrinsic features, convention should count as a way for music to genuinely represent because convention is an intrinsic feature of music. Without knowledge of musical systems and encultured listening, music wouldn’t even be recognized as music, so convention is already baked into our listening practices. (shrink)

The goal of this essay is to identify the species of music that is most justifiably denominated sublime and to characterize it as fully as possible, in part through a suggested taxonomy of the species, illustrated by a wide range of musical examples. After a general discussion of sublimity in its original sphere of application—the natural world—I go on to consider the nature of sublime musical experience. I propose that categorizing music as some species of sublime is at (...) base a matter of what it is most like or most resembles among natural phenomena. This results in a scheme which recognizes five distinguishable kinds of sublime music: negatively transcendent, positively transcendent, mixedly transcendent, energizing, and transcendent-energizing. I distinguish sublime music from other valuable music kinds and finish by pointing to some rewards that come with the experience of sublime music. (shrink)

Piracy is the greatest threat facing the music industry worldwide today. This study developed and empirically tested a model examining the antecedents of consumer attitude and behavioral intention toward music piracy behavior. Two types of music piracy behavior, unauthorized duplication/download and pirated music product purchasing, were examined. Based on a field survey in Taiwan, the results showed that attributive satisfaction, perceived prosecution risk, magnitude of consequence, and social consensus are very important in influencing customers attitude and (...) behavioral intention toward two types of music piracy behavior. In addition, singer/band idolization can affect the attitude and behavioral intention in the case of pirated music product purchasing. Perceived proximity was found to affect the attitude and behavioral intention in the case of pirated music product purchasing. However, it only influenced behavioral intention in the case of unauthorized duplication/download. (shrink)

Introduction -- Navigating the neosurreal : background and premises -- Neosurrealist tendencies in recent films -- Neosurrealist metamusicals, flow and camp aesthetics -- In tandem with the random : loose synchronisation and remediation in Philip Glass's -- La Belle et la Bête and The dark side of Oz -- The surrealism of the virtual band in the digital age : Gorillaz' "Clint Eastwood" and "Feel good inc." -- Back to the garden? Performing the disaffected acoustic imaginary in the digital age (...) -- Concluding thoughts : all that is solid melts into air? (shrink)

Music has strong emotional powers. How are we to understand affective responses to music? What does music teach us about emotions? Why are musical emotions important? Despite the rich literature in philosophy and the empirical sciences, particularly psychology and neuroscience, little attention has been paid to integrating these approaches. This extensive review aims to redress this imbalance and establish a mutual dialogue between philosophy and the empirical sciences by presenting the main philosophical puzzles from an affective science (...) perspective. The chief problem is contagion. Sometimes, listeners perceive music as expressing some emotion and this elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotions as experiences of values. This article mostly revolves around the critical presentation of the philosophical solutions to this problem in light of recent developments in emotion theory and affective science. It also highlights practical issues, particularly the role of musical emotions in well-being and health, by tackling the paradox of sad music, i.e., the question of why people enjoy sad music. It thus bridges an important gap between theoretical and real-life issues as well as between philosophical and empirical investigations on affective responses to music. (shrink)

After describing the main features of the literary narrative and demonstrating its analogy with music, the author underlines the necessity not to consider a priori a musical production as a narrative. He analyses the intonation of musical contours as a form of proto-narrative which he later explains from the standpoint of Daniel Stern’s developmental psychology. It is then emphasized that music should be considered as a proto-narrative and the authors suggests a criticism of the so-called narratological musicology.