Although music and other forms of art can develop in diverse directions, they are linked to the genetic profiles of populations. Hearing music is a strong environmental trigger that serves as an excellent model to study the crosstalk between genes and the environment. We propose that the ability to enjoy and practice music requires musical aptitude, which is a common and innate trait facilitating the enjoyment and practice of music. The innate drive for music can only have arisen (...) by exposure to music, and it develops with motivation and training in musically rich environments. Recent genomic approaches have shown that the genes responsible for inner ear development, auditory pathways and neurocognitive processes may underlay musical aptitude. It is expected that genomic approaches can be applied to musical traits and will reveal new biological mechanisms that affect human evolution, brain function, and civilisation. (shrink)

This study sought to understand the effects of tone language repertoire and musical experience on nonnative lexical tone perception and production. Thirty-one participants completed a tone discrimination task, an imitation task, and a musical abilities task. Results showed that a larger tone language repertoire and musical experience both enhanced tone discrimination performance. However, the effects were not additive, as musical experience was associated with tone discrimination performance for single-tone language speakers, but such association was not seen (...) for dual-tone language speakers. Furthermore, among single-tone language speakers, but not among dual-tone language speakers, musical experience and musical aptitude positively correlated with tone discrimination accuracy. It is thus concluded that individuals with varying extents of tone language experience may adopt different strategies when performing tone discrimination tasks; single-tone language speakers may draw on their musical expertise while dual-tone language speakers may rely on their extensive tone language experience instead. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Paul Woodford, “A Liberal Versus Performance-Based Music Education?”Peter R. WebsterA study of the history of music teaching and learning in North America will likely reveal very few examples of extended and well-argued professional discourse. By "discourse" I mean a continuous expression or exchange of ideas designed to present contrasting views on important issues in the music teaching profession. Often our annual conventions are filled with presentations that (...) address a single perspective in research, pedagogy, or theory. "Special theme" issues of magazines are rarely devoted to contrasting points of view about music teaching and learning. Conferences are organized to promote single views on a subject, often speaking to a partisan audience that expects to be neither challenged to think in a contrary way nor encouraged to develop alternative perspectives.Of course there are some rare and wonderful exceptions. During my course on measurement and assessment in music, I frequently ask my students to read [End Page 208] the exchange in the pages of the Music Educators Journal during the late 1930s between James Mursell and Carl Seashore as they debated approaches to music aptitude testing.1 I recall the great exchange at the 1994 meeting of the Music Educators National Conference between Bennett Reimer and Edwin Gordon on the subject of music learning.2 In past eras, there have been notable "point-counterpoint" exchanges in the pages of the Bulletin of the Council of Research in Music Education,3 as well as interesting perspectives on completed doctoral dissertations that spawned some debate. More recently, contributions in Philosophy of Music Education Review have been notable, particularly given the recent upturn in published work and interest in music education philosophy that this very Symposium exemplifies. The formation of the MayDay group in recent years is no small example of this trend.4 I am sure that I have missed other examples. However, compare these few instances with the millions of pages that are written in our field and the hours of papers presented and conference sessions held and the examples of real discourse pale in comparison to the body of professional exchange.In his paper, especially in the early pages, Paul Woodford makes this point forcefully and effectively. He challenges us to consider just how few examples there are of real discourse within the profession. I enjoyed enormously the case made for liberal education as not defined by the teaching of a canon of great books or art works as an end but as a thoughtful discussion of ideas in light of con-temporary circumstance. The paper reminds us that the idea of criticism in our field need not be a negative concept in this current age of post-modern thought, but a positive mark of a maturing profession.I was sympathetic to Woodford's example of multiculturalism running the risk of becoming an absolutism to be imposed on children. I feel the same way at times about other trends in our field such as the rise of technology as a kind of end-experience or the encouragement of popular music in classrooms simply because it is such a dominant part of children's lives. Each of these aspects of modern music education is worthy of careful debate by intellectuals in our field in much more sophisticated ways then we see today. Woodford would have us believe that this is a major professional failure, and I tend to agree.Not to belabor this point too much, but what about the National Standards? How often do you see an article published in Music Educators Journal that actually takes issue with any aspect of the standards? Where is the national debate about the content, extension, redefinition, refocusing, and development of these standards? Are they so good that they are not the subject of at least some national debate?At core here, for me, is the notion that discourse involving critical comment leads not to a sense of competition for superiority but real understanding of complex [End Page 209] issues. Very little that is worth discussing is black and white, and nearly always there are levels of complex gray. Many of us learn this from our days on the high... (shrink)

This study investigates how background music influences learning with respect to three different theoretical approaches. Both the Mozart effect as well as the arousal-mood-hypothesis indicate that background music can potentially benefit learning outcomes. While the Mozart effect assumes a direct influence of background music on cognitive abilities, the arousal-mood-hypothesis assumes a mediation effect over arousal and mood. However, the seductive detail effect indicates that seductive details such as background music worsen learning. Moreover, as working memory capacity has a crucial influence (...) on learning with seductive details, we also included the learner’s working memory capacity as a factor in our study. We tested 81 college students using a between-subject design with half of the sample listening to two pop songs while learning a visual text and the other half learning in silence. We included working memory capacity in the design as a continuous organism variable. Arousal and mood scores before and after learning were collected as potential mediating variables. To measure learning outcomes we tested recall and comprehension. We did not find a mediation effect between background music and arousal or mood on learning outcomes. In addition, for recall performance there were no main effects of background music or working memory capacity, nor an interaction effect of these factors. However, when considering comprehension we did find an interaction between background music and working memory capacity: the higher the learners’ working memory capacity, the better they learned with background music. This is in line with the seductive detail assumption. (shrink)

Se presenta una experiencia musical desarrollada con una muestra total de ciento noventa participantes entre los dos y los tres años de edad. El objetivo consiste en facilitar la discriminación de dos parámetros musicales: duración e intensidad, mediante varias sesiones musicales desarrolladas con metodología constructivista y conexionista. Se adapta el Test de aptitudes musicales de Seashore para la etapa de infantil. La incorporación de estas metodologías ha resultado muy positiva, observando evolución en la identificación de los estímulos proporcionados. Se (...) contempló la procedencia familiar y la asistencia a actividades musicales pudiendo resultar condicionantes por la exposición a la escucha musical. (shrink)

Previous research suggests that mastering languages with distinct rather than similar rhythmic properties enhances musical rhythmic perception. This study investigates whether learning a second language (L2) enhances the perception of musical rhythmic variation in general, regardless of first and second languages’ rhythmic properties. Additionally, we investigated whether this perceptual enhancement could be alternatively explained by exposure to musical rhythmic complexity, such as the use of compound meter in Turkish music. Finally, it investigates if an enhancement of (...) class='Hi'>musical rhythmic perception could be observed among L2 learners whose first language relies heavily on pitch information, as is the case with tonal languages. Therefore, we tested Turkish, Dutch and Mandarin L2 learners of English and Turkish monolinguals on their ability to perceive musical rhythmic variation. Participants’ phonological and working memory capacities, melodic aptitude, years of formal musical training and daily exposure to music were assessed to account for cultural and individual differences which could impact their rhythmic ability. Our results suggest that mastering a second language rather than exposure to musical rhythmic complexity could explain individuals’ enhanced perception of musical rhythmic variation. An even stronger enhancement of musical rhythmic perception was observed for L2 learners whose first and second languages differ regarding their rhythmic properties, as enhanced performance of Mandarin and Turkish in comparison with Dutch L2 learners of English seem to suggest. Our findings provide further support for a cognitive transfer between the language and music domain, which may find its grounds on a common evolutionary basis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”C. Victor FungThe authors' choice of using phenomenology as a foundation of their inquiry is appropriate and appealing. They have, to a great extent, achieved their goal to explain music learning from a life-world approach. Descriptions of absolute musicality and relativistic musicality in the opening paragraphs remind me of the good old "nature versus nurture" argument. (...) Do the authors intend to relate musicality to musical ability or aptitude as defined by psychologists? If musicality is "the ability to make something of one's own," does it mean that the authors have taken on a relativistic view and believe that musicality can be acquired?At the onset of the essay, musicality is described as emotional or cognitive phenomena. I would be interested to know what role a psychomotor phenomenon plays in musicality. The authors later describe "motor knowledge" in the context of Merleau-Ponty's "maximum grip." Does it mean that "motor knowledge" or "maximum grip" in music is outside the realm of musicality?I have attempted to follow the authors' logic in answering the question: What is learning of music? The authors postulate that "knowledge does not always, and not in any way automatically, become exactly the same as the learning situation aimed for" and that "the aim of music education is to produce music knowledge." These propositions lead me to believe that the learning of music occurs in experiencing all types of musical activities, regardless of the musician's level of proficiency. In all types of musical activities, including different performances of the same repertoire by the same performer, the musician would find new knowledge that is being produced in his/her body. Therefore, I agree with the authors in that "bodily experience is the foundation for learning."I would like to respond to the issue of whether music learning occurs within [End Page 206] or outside of the human being. I enjoy reading how the authors borrow Merleau-Ponty's analogy of the blind man and his stick. They put it so beautifully that "the piano becomes an extension of the pianist's body, and the pianist can 'feel' its limitation." This leads me to ponder if there could be further extensions beyond the physical piano. We know that pianists make the strings in the piano vibrate through a lever mechanism. These vibrations travel through the air and arrive at the audience's ears. Then the vibrating energies are transmitted as electrical energies in the audience's nerve cells. The audience in turn may behave differently after such a complex transmission of energies at a performance. My question is: Is there an end to the "extension" of a musician's body? If so, where should it end? There is no doubt that the pianist relates to the world and learns about the world through the piano. Could the pianist learn about the world through the vibrations that the piano strings generate, through the air, and through the audience's hearing mechanism, brain cells, and behaviors? Is this what the authors meant by "the human ego is boundaryless and cannot be localized, and the ego is immanent in the whole system"? Regardless of how far the "extension" goes, how do we know if an "extension" has occurred? How can we validate an "extension" of a musician's ego"?It seems to me that the authors' discussions have focused on the tactile extension of the body. If the body can be extended like the stick for the blind man, would the air surrounding the blind man, including its smell, temperature, humidity, wind, and sound, be his extension too? When this question is transferred to a musician, would the total context of the musical event be the musician's extension of the body too? By "total context," I mean the cultural context, the environment (smell, temperature,...), and the people in the musical event.We are certain that music learning takes place when experiences and knowledge are incorporated in the body. We still have not solved the problem of whether music learning occurs within or outside of the human being, because the boundary of the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education ed. by David J. Elliott, Marissa Silverman and Gary E. McPhersonCara Faith BernardDavid J. Elliott, Marissa Silverman, and Gary E. McPherson, eds., The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education (New York, NY: Oxford University Press, 2019)Three leading voices in music education, David J. Elliott, Marissa Silverman, and Gary E. McPherson, consistently work to (...) reconceive how music educators create and challenge the discourses of music learning and the ways in which people engage with music. The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education furthers their contributions and serves as a break from the familiar and common “default philosophy of assessment” of tests, standards, regimens, and rankings to invite new ways of approaching music assessment.1 They, along with their coauthors, apply their theoretical, research, and teaching experience to examine music assessment through social praxis and how individuals and communities “deepen their growth as knowing and compassionate human beings.”2 In short, this Handbook is an invitation for music educators of all levels to reengage with their values and name them in their current and future practices.Using the current neoliberal state of education as a backdrop, Elliott, Silverman, and McPherson portray schools as spaces that yield corporate types of learning practices and assessments which “place little value on arts education.”3 Countering these realities, the diverse cadre of authors examines assessment [End Page 123] from different settings, roles, policies, and practices, organized around four themes. The first theme examines assessment through theoretical ideas including critical pedagogy, pragmatism, and Deleuzean frameworks. Next, in methodological practices, new ideas for assessment are considered through teacher evaluation, working with students with disabilities, and incorporating habits of mind. Creativity explores assessment through technological possibilities, popular music, and drawing, among others. Closing with international perspectives, the authors explore assessment through German and Scandinavian bildung/bildning, care as a driving force of assessment in South Africa, and an Iranian non-regulated perspective of assessment.Alexandra Kertz-Welzel asks: “Who decides what is assessed? How it is assessed? By whom is it assessed?”4 These questions are embraced and challenged throughout the Handbook. Instead of conceiving of assessment as something diagnostic—reaching musical benchmarks and aptitudes deemed by outside authorities—the authors welcome an epistemological shift of assessment. What might happen when music educators replace written self-assessments, quizzes, and playing tests in favor of, say, habits of mind (as Jillian Hogan and Ellen Winner describe in their chapter5) such as listening, noticing, being part of a community, persisting, expressing oneself, imagining, and making decisions? These changes might transform a community, one where students and teachers embrace music making beyond mere replication.6 The authors suggest ways of engaging in acts of subversion, resistance, care, and pragmatism to push past the product-driven view of assessment dictated by neoliberal and for-profit discourses.Historically, assessment has been contextualized, discussed, and critiqued through its practices; its purpose has been to gain information which aids in making decisions about teaching. In many contexts, particularly in the U.S., assessment practices stem from current educational policies, namely those noted in teacher evaluation systems.7 Such practices are intended to show student growth and drive instruction, to better label teaching quality and student success.8 In my own research on teacher evaluation, I found that music educators struggle with definitions and strategies of assessment; as a result, they defer to assessments based on hierarchies of musical skill and technique.9 Yet, Charlotte Danielson, a creator of many U.S. teacher evaluation frameworks, reminds that teaching “is not simply a matter of following a script of carrying out other people’s instructional designs.”10 Having to uphold the demands of assessment and evaluation forced many of the participants in my research to become compliant, even when they knew their teaching strategies were ancillary to who the students were and what they needed. They fabricated their assessments— often in the form of exit slips and inauthentic writing and musical compositional activities—to comply with policies. As a result, teachers’ values for music [End Page 124] teaching and learning were omitted from... (shrink)

This commentary samples some of the major bodies of counterevidence omitted by Howe et al., including the strong relationship between IQ and academic excellence, the limited effects of early stimulation programs, and the measurement of musical aptitudes. The authors' selective review and analysis of the surveyed literature, especially studies of prodigies and in behavioral genetics, is discussed.

Weaver birds create intricate nests; sculptors and other artists and artisans also create intricate, ingenious constructions out of similar materials. The products may look similar, and outwardly the creative processes that create those processes may look similar, but there are surely large and important differences between them. What are they, and how important are they? The weaverbird nestmaking is ‘instinctual,’ and ‘controlled by the genes’ some would say, but we know that this is a crude approximation of a more interesting (...) truth, involving an intricate interplay between genetic variation, long-term developmental and environmental interaction and short-term environmental variation–in opportunities and materials accessible at the time of nest building. And on the side of the human creator, a similarly complex story must be told. Genes play some role surely (think of the likelihood of heritable differences in musical aptitude, for instance), but so do both long-term and short-term environmental interactions. The myth of the artist “blessed†by a spark of ‘divine genius’ is even cruder and more distorted than the myth of the birdnest as a simple product of a gene–as if it were a protein.                Our thinking about human creativity is pulled out of shape somewhat by a famous contrast introduced to the world by Darwin. One of his earliest–and most outraged–critics summed it up vividly:   In the theory with which we have to deal, Absolute Ignorance is the artificer; so that we may enunciate as the fundamental principle of the whole system, that, IN ORDER TO MAKE A PERFECT AND BEAUTIFUL MACHINE, IT IS NOT REQUISITE TO KNOW HOW TO MAKE IT. This proposition will be found, on careful examination, to express, in condensed form, the essential purport of the Theory, and to express in a few words all Mr. Darwin's meaning; who, by a strange inversion of reasoning, seems to think Absolute Ignorance fully qualified to take the place of Absolute Wisdom in all the achievements of creative skill.. (shrink)

Sabemos que desde una perspectiva científica, al activar determinados estímulos musicales se produce una activación a nivel cerebral. Con las agrupaciones musicales escolares se requiere previamente activar las técnicas de audición e interpretación de forma individual para lograr en el grupo, aptitudes motoras, perceptivas, cognitivas y activar procesos afectivos y de socialización. De esta forma, la atención a la diversidad no quedaría excluida. La música, en definitiva, favorece el desarrollo de la persona en todas sus dimensiones, lo cual redunda en (...) una mejora de la calidad de vida y es un gran avance a nivel personal, familiar, escolar, clínico y social. La actividad musical es como un sistema de introducción en el marco cultural insustituible. (shrink)

The purpose of this article is to show the Roman home theater of Queen Marie Casimire Louise de La Grange d’Arquien as a topic she addressed in her letters. The sources are based on her correspondence with her eldest son; these sources are one-sided, as only the queen’s letters are known, while the letters of Prince James have not survived or have not been found. In 1698, the widowed Marie Casimire left Poland and moved to Rome to spend the Jubilee (...) year there. Eventually, she remained on the Tiber for almost fifteen years. Following in the footsteps of Queen Christina, she wished to be a patron of artists, and since she had already organized theatrical performances at her court in Poland, she decided to patronize musical, theatrical and operatic performances in Rome as well. She was assisted in this endeavor by Prince Alexander, who also resided in Rome. It soon became apparent that her son was not only an active patron, but also had artistic talents and an aptitude to take on the role of director, writer, and even a dancer in ballet scenes. The queen’s granddaughter and namesake, Marie Casimire, was also involved in preparing the performances. At her uncle’s side, she learned the art of preparing performances, but she also took part in ballet scenes. In her letters to her eldest son, James, the queen marveled at the versatile talents of both and assured him that she would spare no expense or effort to provide them with opportunities to entertain, and to bring splendor and widespread acceptance to herself and her theater. In her correspondence, the Queen never touched on the topic of the plays themselves, gave their titles, or wrote anything about the subjects they addressed. From the Queen’s correspondence, one cannot learn much about her home theater, but much about the pride that filled her at the thought of her son’s and granddaughter’s artistic achievements. The letters are a testimony to the queen’s feelings, not a report of the life of her Roman court. (shrink)

La musique s'éprouve et se vit, et ne se laisse pas seulement analyser et comprendre. Active, dominatrice, source en même temps d'une passivité unique, elle atteint des couches profondes qui dessinent le mystérieux domaine du pré-verbal, directement en prise sur le vivant du corps. À preuve son aptitude à induire immédiatement du mouvement, dilater l'espace et donner une énergie incomparable, ou encore suspendre le temps. La musique plus que tout autre art instruit sur le "sentir", pour autant qu'on ne (...) la cantonne pas à une autonomie ou à une pureté qui l'ampute du chanter et du danser, lesquels manifestent cette part irréductible. Le sentir obéit à une autre logique que celle du sens et de la vérité. C'est un être-au-monde que les couplages traditionnels comme ceux de l'émotion et de la raison, ou de l'expression et de la forme, échouent à cerner. Sa complexité, son maillage interne, sa structuration dynamique, plaident en faveur de notions qui trouvent dans ce contexte une teneur philosophique renouvelée, comme celles de rythme et de symbole, également d'un art de narrer. L'approche phénoménologique, attentive au corps vécu, et l'orientation de la théorie critique soucieuse de toutes les formes de réification, y compris de la perception et de ses gestes, sont conjointement mobilisées pour explorer le sentir à partir de la musique. Erwin Straus d'une part, en son approche du pathique, Walter Benjamin et Theodor W. Adorno d'autre part, sont les principaux acteurs de ce croisement. Celui-ci s'ouvre à d'autres penseurs, dont André Schaeffner et Susanne Langer. Le premier, à propos de l'instrument de musique, la seconde à propos du symbole non-présentationnel, se montrent en effet particulièrement appliqués à ne pas séparer l'expérience de la musique des processus corporels et physiologiques qui sont en jeu dans le rythme et dans l'écoute."--Page 4 of cover. (shrink)

In The Art of Humane Education, Donald Phillip Verene presents a new statement of the classical and humanist ideals that he believes should guide education in the liberal arts and sciences. These ideals are lost, he contends, in the corporate atmosphere of the contemporary university, with its emphasis on administration, faculty careerism, and student performance. Verene addresses questions of how and what to teach and offers practical suggestions for the conduct of class sessions, the relationship between teacher and student, the (...) interpretation of texts, and the meaning and use of a canon of great books.In sharp contrast to the current tendency toward specialization, Verene considers the aim of college education to be self-knowledge pursued through study of all fields of thought. Education, in his view, must be based on acquisition of the arts of reading, writing, and thinking. He regards the class lecture as a form of oratory that should be presented in accordance with the well-known principles of rhetoric. The Art of Humane Education, styled as a series of letters, makes the author's original and practical ideas very clear. In this elegant book, Verene explores the full range of issues surrounding humane education.On the humanities: "Despite Descartes, the study of humane letters has remained, but it is always in danger of passing out of the curriculum. It remains a beggar who will not quite leave the premises."On teaching: "Like oratory, teaching requires a natural gift, but it is also an art which, like all the other humane arts, can be learned only mimetically.... As some are born tone-deaf and cannot be musical, there are those who can never teach. But most if they wish have some aptitude for it, and this aptitude can be developed into an art."On teachers: "Teachers motivated by eloquence attempt to speak wholly on a subject, since the whole is where its life is. Teachers not motivated by eloquence tend to be either dull or comedic. The dull teacher may have knowledge but have no true language for it.... The comedic teacher is shallow and a menace to the subject matter."On administrators: "Administration is never content simply to concern itself with the pure business of the university, paying its bills, maintaining its buildings. It sees itself as necessary in order for the process between teacher and student to go on. But it is a process that it constantly interrupts.... Administrators, however, should not be taken too seriously."Although sharply critical of many aspects of the modern university and of many currents within the humanities, The Art of Humane Education remains at heart a ringing endorsement of the high humanist tradition and its continuing relevance to the institutions of teaching and learning. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Pleasures of FictionDenis DuttonHuman Beings Expend staggering amounts of time and resources on creating and experiencing art and entertainment—music, dancing, and static visual arts. Of all of the arts, however, it is the category of fictional story-telling that across the globe today is the most intense focus of what amounts to a virtual human addiction. A recent government study in Britain showed that if you add together annual (...) attendances in plays and cinema with hours watching television drama, the average Briton spends roughly 6% of all waking life watching dramatic performances. And that figure does not even include books and magazines: further vast numbers of hours spent reading short stories, bodice-rippers, mysteries, and thrillers, as well as so-called serious fictions, old and new.The origins of this obsession with comic and dramatic fictions are lost in remote prehistory, as lost as the origins of language itself. But like language, we know the obsession with fiction is universal: stories told, read, and dramatically or poetically performed are independently invented in all known cultures, literate or not, having advanced technologies or not. Wherever printing arrives, it is used to reproduce fictions. Whenever television appears in the world, soap operas soon show up on the schedule. Both the forms that fiction takes and the ideas, types of characters, and kinds of conflict that make up its content can be shown to be strikingly similar across cultures. It has specialist practitioners—rhapsodes, novelists, playwrights, actors—and is governed both informally with stylistic conventions and sometimes formally—for example, by censorship laws. A love of fiction is as universal as governance, marriage, jokes, religion, and the incest taboo. [End Page 453]The question for any general aesthetics is: Why? Joseph Carroll is a literary theorist who has applied his probing mind over the last decade to the origins, nature, and functions of literary experience. His new collection of essays and reviews, Literary Darwinism: Evolution, Human Nature, and Literature (Routledge, $85.00 boards, $23.95 paper) looks at literature and literary theory through the lens of evolutionary psychology. At the same time, Carroll's eye is that of an extremely perceptive literary critic. In fact, I would judge him to be one of the most acute and knowledgeable readers of fiction I've ever encountered. It should not come as a surprise, therefore, that he is sometimes dubious, or even scathing, about evolutionary explanations of literature that have been offered up by writers whose grasp of psychology exceeds, in his opinion, their command of high literature. His complaints, however, are not to the fundamental notion that evolution by natural and sexual selection have made human beings into the story-loving animals they have become: his adjustments are intended to increase the accuracy and usefulness of Darwin's revolution. However critical he is of evolutionary psychologists, Carroll remains a Darwinian through and through.Carroll holds that the only way to attain a general theory of literature is through an account of human nature that builds from the ground up, from the most basic conditions for the evolution of the human species. A Darwinian literary theory first needs a Darwinian psychology. Once we have a basic Darwinian psychology in place, we can see that the narrative proclivities of human beings, far from being an incidental by-product of the evolved mind, are central to some of its most human functions. The structures of basic motives and dispositions are what would be appropriate for a species, as Carroll describes it, that "is highly social and mildly polygynous, that displays concealed ovulation, continuous female receptivity, and postmenopausal life expectancy corresponding to a uniquely extended period of childhood development, that has extraordinary aptitudes for technology, that has developed language and the capacity for peering into the minds of its conspecifics, and that displays a unique disposition for fabricating and consuming aesthetic and imaginative artifacts." Such a list alone, he contends, would make it impossible to imagine a blank-slate view of the mind, in which the mind evolves in a vacuum, goes onto produce culture, which then gives back to the mind all content and structure.Some of the mental processes that grow from... (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)

This article is interdisciplinary in its claims. Evolving around the ecological concept of affordance, it brings together pragmatics and ecological psychology. Starting from the theoretical writings of Peirce, Dewey and James, the biosemiotic claims of von Uexküll, Gibson’s ecological approach to perception and some empirical evidence from recent neurobiological research, it elaborates on the concepts of experiential and enactive cognition as applied to music. In order to provide an operational description of this approach, it introduces some conceptual tools from the (...) domain of cybernetics with a major focus on the concept of circularity, which links perception to action in a continuous process of sense-making and interaction with the environment. As such, it is closely related to some pragmatic, biosemiotic and ecosemiotic claims which can be subsumed under the general notion of functional significance. An attempt is made to apply this conceptual framework to the process of musical sense-making which involves the realisation of systemic cognition in the context of epistemic interactions that are grounded in our biology and possibilities for adaptive control. Central in this approach is the concept of coping with the environment, or, in musical terms, to perceive the sounding music in terms of what it affords for the consummation of musical behaviour. (shrink)

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