Music

In Flourish, the positive psychologist Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or well-being: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted to (...) go about the practical task of actually increasing our level of well-being, we ought to do so by focusing on practically increasing the levels of the five factors that are characteristic of well-being. If, for instance, an activity such as musical engagement can be shown to positively influence each or all of these five factors, this would be compelling evidence that an activity such as musical engagement can positively contribute to one’s living a flourishing life. I am of the belief that psychological research can and should be used, not only to identify and diagnose maladaptive psychological states, but identify and promote adaptive psychological states as well. In this article I advance the hypothesis and provide supporting evidence for the claim that musical engagement can positively contribute to one’s living a flourishing life. Since there has not yet been a substantive and up-to-date investigation of the possible role of music in contributing to one’s living a flourishing life, the purpose of this article is to conduct this investigation, thereby bridging the gap and stimulating discussion between the psychology of music and the psychology of well-being. (shrink)

Aristotle's Poetics has been the basis for theories of entertainment for over 2,000 years. But the general approach it uses has led to a number of gaps, contradictions, and difficulties in predicting the success of books, plays, movies, and entertainment as a whole, so much so that sayings like "there are no rules, but you break them at your peril," and "in Hollywood, nobody knows anything" have become widespread and accepted. -/- However, it turns out that a model of entertainment (...) that defines literary conventions by the pleasurable feelings they release in the brain, and then equates them with outside experiences that people subconsciously attach to the literary work, in the same way that we can be conditioned to feel love when we view our wedding rings, can actually resolve almost every seeming contradiction in Aristotle's ideas and traditional theories of storytelling when compared to real-world results. -/- Furthermore, this approach can be extended to the other major forms of art, including painting, music and even video games, leading to a "Non-Aristotelian" theory that modifies the fundamental aspects of each of these fields, but in a natural and necessary way, which strengthens both our understanding and our ability to predict the success or failure of art in the future. -/- My work as a vlogger and writer, mostly done via my Youtube channel "StoryBrain," has been viewed over 6 million times, and written about in MovieMaker magazine, Creative Screenwriting magazine, on the front page of major sites like Reddit, Roger Ebert online, and in international newspapers like the Sydney Morning-Herald in Australia and Fotogramas in Spain. My work is also the subject of a chapter of the currently-in-release book "Neuro-Design," by Kogan Page publishing, called "The Neuro Movie Analyst." This paper is a detailed introduction to the theory of Emotional Indiscretion which I have talked about in my work. (shrink)

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

The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".

This book is discussing patterns of radical religious thought in popular forms of Black music. The consistent influence of the Five Percent Nation on Rap music as one of the most esoteric groups among the manifold Black Muslim movements has already gained scholarly attention. However, it shares more than a strong pattern of reversed racism with the Bobo Shanti Order, the most rigid branch of the Rastafarian faith, globally popularized by Dancehall-Reggae artists like Sizzla or Capleton. Authentic devotion or calculated (...) marketing?Apart from providing a possible answer to this question, the historical shift of Bobo adherents from shunned extremists to firmly anchored personifications of authenticity in mainstream Rastafarian culture is being emphasized. A multi-layered comparative case study attempts to shed light on the re-contextualization of language as well as expressed dogmatic perceptions and symbolism, attitude towards other religious groups and aspects of ethnic discrimination. Further analysis includes the visibility of artists and their references to practical and moral issues directly derived from two obscure ideologies that managed to conquer airwaves and concert halls. (shrink)

O tema desse livro, conforme o título é a música (do grego μουσική τέχνη – musiké téchne, i.e., “a arte das musas”) na obra de Pitágoras, primeiro pensador na história da filosofia a fazer dessa arte o centro de sua visão de mundo, através de sua inclusão até mesmo nas assim chamadas “ciências exatas”. Para que haja maior compreensão e clareza a respeito do pensamento de Pitágoras, cujos escritos chegaram até o século XXI extremamente fragmentados e em número muito reduzido, (...) faz-se necessária a pesquisa das fontes históricas contemporâneas ao filósofo, bem como daqueles que o sucederam. (shrink)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...) and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (shrink)

While US-Hip Hop has been attested considerable influence of the controversial Black supremacy movement Five Percent Nation, a similar pattern can be observed with the rigid Rastafarian doctrine of the Bobo Shanti Order and Jamaican Dancehall-Reggae. Considering the commercial relevance and global popularity of both musical styles, this study attempted to shed light on the question if either artists are using controversy for promotional agendas or it is them being used for missionary purposes in turn. A multi-layerd cross-case study based (...) on Critical Discourse Analysis as well as ethnographic research has been conducted to determine the degree and direction of Bobo Shanti-representations in Jamaican Dancehall-Reggae as compared to Five Percenter Rap in the US, focusing on visual representations, declared affiliations as well as claims of moral superiority and gender roles in reference to doctrinal sources. -/- . (shrink)

Im Rahmen der folgenden Seiten sollen die Kommunikationsbedingungen im Kontext der Kollektiv-Improvisation genauer analysiert und einem Vergleich mit den Voraussetzungen der idealen Sprechsituation von Habermas unterzogen werden. Hinleitend dazu erfolgt zum Einstieg eine Darstellung jener Ausgangsbedingungen, welche die Methode der kollektiven Improvisation von herkömmlichen musikalischen Verfahren unterscheidet. Zu diesem Zweck werden neben einer kurzen Erläuterung der bereits im vorangegangenen Kapitel ausführlich diskutierten Ausgangsbedingungen u.a. Ansätze aus der Musiktherapie herangezogen, die sowohl soziale als auch politische Faktoren mit einbeziehen. Im Anschluss daran (...) sollen mittels einer systemtheoretisch orientierten Annäherung, wie sie von Borgo und Goguen vorgenommen wurde, jene Aspekte genauer beleuchtet werden, die Aufschluss über die tatsächlichen Kommunikationsstrukturen und geben. (shrink)

Im institutionalisierten Bereich interkultureller Beziehungen kommt es permanent zu Bemühungen, über gemeinsame musikalische Projekte Brücken zum Austausch von Lebensrealitäten und Erfahrungen zu erzielen. In vielen Fällen besteht jedoch nicht die Gelegenheit des gegenseitigen Austausches, weil die beteiligten Akteure entweder nebeneinander agieren, ohne aufeinander einzugehen und die Impulse ihres Gegenübers in den eigenen Beiträgen zu reflektieren, oder aber eine der beiden Bestandteile den anderen dominiert, und keine entsprechende Gelegenheit zur gleichberechtigten Artikulation einräumt. Der Grund dafür liegt häufig in der Starrheit der (...) musikalischen Systeme, die bei solchen Gelegenheiten aufeinander treffen und deren Unfähigkeit, auf Impulse außerhalb des jeweiligen Bezugsrahmens einzugehen. Die Improvisation bietet in diesem Zusammenhang einen tatsächlichen Spielplatz für unterschiedliche Zugänge und Entwürfe, der dazu einlädt, sich spielerisch einander anzunähern. Während im idiomatisch eingeschränkten Ausdrucksspektrum auch hier noch einige Barrieren existieren dürften, stellt sich im Kontext der harmonisch und rhythmisch freien Variante eine scheinbar ideale Basis zum gegenseitigen Erfahrungsaustausch dar. Diese wird nicht zuletzt aufgrund einer stark individualisierten Klangästhetik und Ausdruckspalette erzielt, deren Repräsentationsanteil an deutlich zuzuordnenden Elementen einer jeweiligen kulturellen Entität jedoch oft nicht exakt zu bestimmen ist. So widmet sich ein zentraler Aspekt der Arbeit der Frage nach der Zuweisungsebene der in diesem Zusammenhang getätigten Ausdrucksweisen, die sich im Bereich zwischen eindeutig einer bestimmten kulturellen Entität zuzuordnenden Elemente – häufig in Form von traditionellen Instrumenten als kulturelle Artefakte einer spezifischen regionalen Zugehörigkeit – und der rein technischen Herangehensweise an die musikalische Praxis der Kollektiv-Improvisation als Bestandteil einer global präsenten Subkultur der freien Improvisationsszene bewegt. Regelmäßig initiierte Projekte, die sich mit dieser Thematik auseinandersetzen werden im methodischen Teil der Arbeit zur Diskussion gestellt und als Ausgangspunkt für Erkenntnisse zur Optimierung von Projekten mit ähnlich ausgerichteten Zielsetzungen herangezogen. (shrink)

This article is the attempt of an historically oriented analysis focused on the role of Nigerian music as a cultural hub for the export of African cultural influences into the Black diaspora in the United States and its anticipation by the Free Jazz/Avantgarde-scene as well as the import of key-values related to the Black Power-movement to the African continent. The aim is to demonstrate the leading role and international impact of Nigeria's cultural industry among sub-saharan African nation states and its (...) specific ability to absorb and incorporate elements of Western culture. -/- After a short discussion of African influences on jazz music in general and the socio-political, cultural, and artistic context in which Free Jazz emerged, examples for the articulation of African consciousness among influencing key figures such as saxophonist John Coltrane or the Art Ensemble of Chicago are being presented. Furthermore, the personal and ideological links between the Avantgarde Jazz-scene and the Black Power-movement - especially the Black Panther Party - are made transparent. -/- In a second step the central influence of the Nigerian drum-pioneer Babatunde Olatunji on the Africanization of US-Jazz musicians, his personal and creative impact on John Coltrane, as well as the Black Power-movement is being highlighted. On the other hand, Coltrane, Free Jazz, and the Black Panther Party are being portrayed as a central creative and ideological turn in the career and work of Fela Kuti and towards political activism and his efforts to implement and apply the Africa-inspired Black Power -struggle of the US on the African continent in order to fight post-colonial forms of oppression. -/- . (shrink)

In der musikalischen Methode der kollektiven Improvisation kommt eine Spielauffassung zum Ausdruck, deren demokratisch-emanzipatorische Grundeinstellung Vergleiche mit dem von Jürgen Habermas formulierten Konzept der idealen Sprechsituation nahe legt. Diese Vermutung wird im Rahmen einer einleitenden Annäherung an die kollektive Improvisation als von Interaktivität und Synchronizität geprägtes Beziehungsgeschehen näher ausgeführt. Nach einer Diskussion des improvisatorischen Handelns in der Musik in Bezug auf theoretische, historische und psychologische Aspekte werden die verschiedenen, aus dem Free Jazz der 1960er Jahre hervorgegangenen Entwicklungsstufen der freien bzw. (...) kollektiven Improvisation dargestellt. Im Anschluss daran wird die Kollektiv-Improvisation unter Bezugnahme auf das Konzept der idealen Sprechsituation diskutiert und im interkulturellen Kontext verortet, wobei die von Musikern wie Derek Bailey geforderte Sublimierung idiomatischer, kulturell geprägter Ausdrucksformen durch die individuelle Entwicklung einer charakteristischen Klangsprache am Instrument als egalisierend für die tendenziell asymmetrisch geprägten Dialogformen dieser Situation erläutert wird. Inklusive Interviews mit Evan Parker, Alexander von Schlippenbach und Joe Fonda. (shrink)

Ausgehend von der immer wieder bemühten Metapher des Black CNN wird versucht, das Potenzial der musikalischen Ausdrucksform des HipHop als Kommunikationsstruktur der Schwarzen Minderheit in den USA zu analysieren. Nach einer historisch-kulturellen Erläuterung, die sich mit der Tradition der Reflektion sozialer und politischer Aspekte in den unterschiedlichen musikalischen Äußerungen der Schwarzen Volksgruppe in den USA beschäftigt und schon ansatzweise die Bedeutung dieser Ausdrucksmöglichkeit im Kontext eines internal colonialsm vor Augen führt, werden jene soziodemographischen Entwicklungen nachvollziehbar gemacht, die sich als zentraler (...) Kritikpunkt in den verbalen Artikulationen des HipHop widerspiegeln. Vor dem theoretischem Hintergrund von cultural citizenship - ein Konzept zur Bestimmung kultureller Teilhabe in der Mediengesellschaft -, werden 25 Textbeispiele, die sich auf HipHop- Veröffentlichungen von 1982 bis 2004 finden, auf ihre Übereinstimmung mit Indikatoren untersucht, die sich aus, den Medien zugeschriebenen, politischen und sozialen Funktionen ableiten lassen. Overseen by Scott La Rock... (shrink)

Musikalische Schlußbildung gehört zu den zentralsten Themen in der Musikwissenschaft und führt in tiefere philosophische Bereiche, denn das Schließen und Enden ist an einem langen Ende für den Menschen auch mit dem schwierigen Rätsel des Todes verbunden. Ist dieses nicht gelöst, bleibt auch musikalisches Enden und Schließen eine ungeknackte Nuß. Bach, Beethoven und Schönberg haben, aufeinander aufbauend, drei Lösungskonzepte entwickelt.

La situación de la música en España.Publicado en 2016 por Ed. Eride.

The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.

Many scholars in various fields of knowledge have already investigated the nature of emotions with humans and even animals. There exist several theories and suggestions how emotions sway the moods and refer to the maturity of a persona. This article aims to pursue some issues relating to how emotions had been working on the lengthy itinerary of civilization and what they had led it to. For the positive emotions contain the fundamental components or ‘vitamins’ to generate a healthy social and (...) cultural environment, or in simple terms ‘societal happiness’, the policy of spreading and adopting them in different times, in singular spheres is to be traced. (shrink)

A MÚSICA NA OBRA DE PITÁGORAS DE SAMOS E OS PITAGÓRICOS O tema desse projeto, conforme o título é a música (do grego μουσική τέχνη – musiké téchne, i.e., “a arte das musas”) na obra de Pitágoras, primeiro pensador na história da filosofia a fazer dessa arte o centro de sua visão de mundo, através de sua inclusão até mesmo nas assim chamadas “ciências exatas”. Para que haja maior compreensão e clareza a respeito do pensamento de Pitágoras, cujos escritos chegaram (...) até o século XXI extremamente fragmentados e em número muito reduzido, faz-se necessária a pesquisa das fontes históricas contemporâneas ao filósofo, bem como daqueles que o sucederam. Proponho assim, em um primeiro momento, apresentar o objeto deste estudo através da história de sua constituição, e em seguida, revelar como ele se insere e qual o lugar que ocupa na visão de mundo do filósofo. O conceito de música será exposto na teoria pitagórica, tanto em seu aspecto histórico e estético, quanto nos aspectos relativos às teorias matemáticas - capazes de proporcionarem o fundamento filosófico necessário para um melhor entendimento do papel desempenhado pela música na obra do filósofo jônico. -/- . (shrink)

This paper presents gesture as an element of aesthetic experience of musical work. It focuses on specific dialectics of gesture in musical works as that which is visual or highlighted and at the same that which speaks to the listener. The difficulty in describing what constitute musical expressive gesture is there to guide us. The gesture stands in way of recognizing meaning and providing communication but at the same time that, which speaks to the listener is the most secluded, intimate (...) part of musical experience. (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.

Narrativity is basically linked to the dynamics of the events and actions which are told and it depends on the pragmatic context, mainly on the narrator and his audience, i.e. on the discursive setting. These dynamics ask for an adequate theoretical frame, e.g. in the format of dynamical system theory or vector analysis. Furthermore, narrativity can be manifested in different modalities. We shall present some specimens of analysis in the linguistic modality (spontaneous oral tales, folktales), in the visual modality (painting (...) by Leonardo da Vinci, action movie in the series of Bond films), and in the musical modality (Blues music). The static analyses in the tradition of structuralism are replaced by morphodynamic schemes, by gesture and glance vectors, paths of pursuit and scenarios of conflict in action movies and eventually by harmonic sequences in the Blues. In this dynamic perspective, the notion of narrativity gains a different profile and it is freed from the preference for linguistic or logical categories. (shrink)

Proceedings of the papers presented at the Symposium on "Revisiting Turing and his Test: Comprehensiveness, Qualia, and the Real World" at the 2012 AISB and IACAP Symposium that was held in the Turing year 2012, 2–6 July at the University of Birmingham, UK. Ten papers. - http://www.pt-ai.org/turing-test --- Daniel Devatman Hromada: From Taxonomy of Turing Test-Consistent Scenarios Towards Attribution of Legal Status to Meta-modular Artificial Autonomous Agents - Michael Zillich: My Robot is Smarter than Your Robot: On the Need for (...) a Total Turing Test for Robots - Adam Linson, Chris Dobbyn and Robin Laney: Interactive Intelligence: Behaviour-based AI, Musical HCI and the Turing Test - Javier Insa, Jose Hernandez-Orallo, Sergio España - David Dowe and M.Victoria Hernandez-Lloreda: The anYnt Project Intelligence Test (Demo) - Jose Hernandez-Orallo, Javier Insa, David Dowe and Bill Hibbard: Turing Machines and Recursive Turing Tests — Francesco Bianchini and Domenica Bruni: What Language for Turing Test in the Age of Qualia? - Paul Schweizer: Could there be a Turing Test for Qualia? - Antonio Chella and Riccardo Manzotti: Jazz and Machine Consciousness: Towards a New Turing Test - William York and Jerry Swan: Taking Turing Seriously (But Not Literally) - Hajo Greif: Laws of Form and the Force of Function: Variations on the Turing Test. (shrink)

This article explains Wittgenstein's distinction between good, bad, and vacuous modern music which he introduced in a diary entry from January 27, 1931. I situate Wittgenstein's discussion in the context of Oswald Spengler's ideas concerning the decline of Western culture, which informed Wittgenstein's philosophical progress during his middle period, and I argue that the music theory of Heinrich Schenker, and Wittgenstein's critique thereof, served as an immediate link between Spengler's cultural pessimism and Wittgenstein's threefold distinction. I conclude that Wittgenstein's distinction (...) between bad and vacuous modern music is analogous to Schenker's distinction between the compositional fallacies of the progressive and the reactionary composers of his time. Concomitantly, Wittgenstein's philosophically problematic notion of good modern music transcended the conceptual framework of both Schenker and Spengler. In this context, I examine Wittgenstein's remarks on Gustav Mahler as well as his remark on the music of the future as monophony, which, I conclude, should be understood ultimately as an ellipsis of his much later view of musical meaning and intelligibility. (shrink)

We present an account of the phenomenon of music based upon the hypothesis that there is a close parallel between the mechanics of life and the mechanics of mind, a key factor in the correspondence proposed being the existence of close parallels between the concepts of gene and musical idea. The hypothesis accounts for the specificity, complexity, functionality and apparent arbitrariness of musical structures. An implication of the model is that music should be seen as a phenomenon of transcendental character, (...) involving aspects of mind as yet unstudied by conventional science. (shrink)

The controversy between Richard Wagner and his critic Eduard Hanslick is well known, but rarely looked at in detail. It is mostly believed that Hanslick was unable to see Wagner's genius, stuck deeply in an antiquated aesthetical world. By reassessing Wagner's and Hanslick's letters and publications it can be seen, however, that Hanslick's detailed criticism (and also appreciation) was much more objective and less spiteful than is often assumed.

Proportional relationships of simple numbers were commonly used in architecture during the Renaissance period. These proportional relationships were based on the primary musical consonances of the Greek musical system: the octave (2:1), fifth (3:2), and fourth (4:3). In a similar manner, Obrecht uses the proportional relationships created by periods of rest and the last notes of the cantus firmus segments. These proportional relationships are found in the same voice as the cantus firmus, and appear when the statements of the cantus (...) firmus segments are absent. Together with the statements of the cantus firmus segments, these proportional relationships provide the entire form and structure for the various parts of Obrecht's segmentation masses. (shrink)

In “Flourish,” Martin Seligman maintained that the elements of well-being consist of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes human flourishing or psychological well-being has remained a topic of continued debate among scholars, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would largely manifest most or all of the aforementioned PERMA factors. Further, in “A Neuroscientific Perspective on Music Therapy,” Stefan Koelsch also suggested (...) that “Music therapy can have effects that improve the psychological and physiological health of individuals,” so it seems plausible that engaging in practices of music can positively contribute to one living a more optimally flourishing life with greater psychological well-being. However, recent studies on music practice and participation have not yet been reviewed and integrated under the PERMA framework from positive psychology to further explore and explicate this possibility. This article therefore contributes to extant work by reviewing recent research on psychological well-being and music to offer support for the claim that music practice and participation can positively contribute to one living a flourishing life by positively influencing their emotions, engagement, relationships, meaning, and accomplishment. (shrink)

Marchetto of Padua, Lucidarium, authentic, plagal, perfect, imperfect, pluperfect, mixed, odd numbers, even numbers, Aristotle, Metaphysics, Alcmaeon of Croton, causa significationis, dyapente, diatesseron, concord, senaria, Pomerium, Donatus, Vetulus, mode 5, commixed, corda, discant, dyad, voice leading.

Professor Rahn takes the approach to the analysis of Western art music developed recently by theorists such as Benjamin Boretz and extends it to address non-Western forms. In the process, he rejects recent ethnomusicological formulations based on mentalism, cultural determinism, and the psychology of perception as potentially fruitful bases for analysing music in general. Instead he stresses the desirability of formulating a theory to deal with all music, rather than merely Western forms, and emphasizes the need to evaluate an analysis (...) and compare it with other interpretations, and demonstrates how this may be done. The theoretical concepts which form the basis of Rahn's approach are discussed and applied: first to individual pieces of non-Western music which have enjoyed a fairly high profile in ethnomusicological literature, and second to repertoires or groups of pieces. The author also discusses the fields of anthropology and psychology, showing how his approach serves as a starting point for studies of perception and the concepts, norms, and values found in specific music cultures. In conclusion, he lists what he considers to be musical universals and takes up the more controversial issues implicit in his discussion. (shrink)

Is it even possible to resist or oppose neoliberalism? I consider two responses that translate musical practices into counter-hegemonic political strategies: Jacques Attali’s theory of “composition” and the biopolitics of “uncool.” Reading Jacques Attali’s Noise through Foucault’s late work, I argue that Attali’s concept of “repetition” is best understood as a theory of neoliberal biopolitics, and his theory composition is actually a model of deregulated subjectivity. Composition is thus not an alternative to neoliberalism but its quintessence. An aesthetics and ethos (...) of “uncool” might be a more viable alternative. If and when they function as bad, unprofitable investments, uncool practices like smoothness (predictable regularity) can undercut neoliberal imperatives to self-capitalization. I consider both the impact of neoliberalism on music, and how the study of music can advance theories of neoliberalism. (shrink)

In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted (...) to go about the practical task of actually increasing our level of wellbeing, we ought to do so by focusing on practically increasing the levels of the five factors that are characteristic of wellbeing. If, for instance, an activity such as musical engagement can be shown to positively influence each or all of these five factors, this would be compelling evidence that an activity such as musical engagement can positively contribute to one’s living a flourishing life. I’m of the belief that psychological research can and should be used, not only to identify and diagnose maladaptive psychological states, but identify and promote adaptive psychological states as well. In this article I advance the hypothesis and provide supporting evidence for the claim that musical engagement can positively contribute to one’s living a flourishing life. Since there has not yet been a substantive and up-to-date investigation of the possible role of music in contributing to one’s living a flourishing life, the purpose of this article is to conduct this investigation, thereby bridging the gap and stimulating discussion between the psychology of music and the psychology of wellbeing. (shrink)

Seeking to expand on previous theories, this paper explores the AIR (Applying Intelligence to the Reflexes) approach to expert performance previously outlined by Geeves, Christensen, Sutton and McIlwain (2008). Data gathered from a semi-structured interview investigating the performance experience of Jeremy Kelshaw (JK), a professional musician, is explored. Although JK’s experience of music performance contains inherently uncertain elements, his phenomenological description of an ideal performance is tied to notions of vibe, connection and environment. The dynamic nature of music performance advocated (...) by the AIR approach is illustrated by the strategies that JK implements during performance. Through executing these strategies, JK attempts to increase the likelihood of vibe and connection by selectively exercising agency over performance variables within his control. In order to achieve this, JK must engage in ongoing monitoring of his performance, whereby the spotlight of his attention pans across a vast array of disparate performance processes (and levels within these processes) in order to ascertain how he can most effectively meet the specific demands of a given performance situation. It is hoped that future research compiling data from numerous interviews and sources as well as using different research methodologies will further unlock the potential that the AIR approach holds for understanding expert performance. (shrink)

Beginning with the role of the Sex Pistols’s “God Save the Queen” in Lee Edelman and J. Jack Halberstam’s debates about queer death and failure, I follow a musical motive from the Pistols track to its reappearance in Atari Teenage Riot’s 1995 “Delete Yourself .” In this song, as in much of ATR’s work from the 1990s, overlapping queer and Afro-diasporic aesthetics condense around the idea of death or “bare life.” ATR’s musical strategies treat this death as a form of (...) de-intensification and divestment— not, as in Edelman or the Pistols, as a form of negation . I will show that ATR’s musical recontextualization of the Pistols’s riff mirrors the political recontextualization of queerness and queer death from negation to disinvestment. Pushing this misprision or sticky interface between cyberpunk, queer, and Afro-diasporic musical aesthetics, I use ATR’s music to consider how queer death might work as a political response to neoliberal demands to invest in “normal” life. I first discuss the traditional concept of death as negation in both the Sex Pistols song "God Save the Queen," and in Lee Edelman and Jack Halberstam’s formulations. I then argue that Atari Teenage Riot's song “Delete Yourself” describes a neoliberal, biopolitical concept of death, death as carefully administered divestment. Finally, I use Deleuze and Guattari’s discussion of drugs, and Ronald Bogue’s Deleuzian reading of death metal to identify and explain how “MIDIjunkies” and “Into the Death” complicate the biopolitical/neoliberal management of death by reworking traditional black/queer critical aesthet- ics. In these songs, ATR undermine biopolitical neoliberalism’s demand to invest in and intensify regular “normal” life: rather than treating death as a nadir of intensity, they intensify it–that is, they go into the death. This strategy of going “into the death” is one possible queer necropolitical response to neoliberalism. (shrink)

In this paper I explain Wittgenstein’s ambivalent remarks on the music of Gustav Mahler in their proper musico-philosophical context. I argue that these remarks are connected to Wittgenstein’s hybrid conception of musical decline and to his tripartite scheme of modern music. I also argue that Mahler’s conundrum was indicative of Wittgenstein’s grappling with his own predicament as a philosopher, and that this gives concrete sense to Wittgenstein’s admission that music was so important to him that without it he was sure (...) to be misunderstood. (shrink)

Hace 60 años el funcionamiento de la voz en tanto instrumento regido por las leyes acústicas e inscripto en el cuerpo humano, y por lo tanto, gobernado por los mecanismos fisiológicos, era un misterio. Hoy en día, gracias a los avances de la ciencia, es posible (y resulta inevitable) presentar la voz desde una perspectiva sólidamente fundamentada. La práctica coral es práctica vocal, y por lo tanto, para el director coral resulta fundamental estar familiarizado con los nuevos conocimientos disponibles en (...) el área de la Técnica Vocal y la Pedagogía del Canto. Existen directores corales y profesionales de la voz que no conocen en detalle cómo está compuesto el instrumento vocal, cuáles son sus características más importantes, cuáles son los procesos nerviosos, sensoriales y motrices implicados en el proceso fonatorio, y que no son capaces de observar y percibir las dificultades y sensaciones que sus coreutas poseen. Esta situación se presenta sin dudas como un obstáculo para el desarrollo profesional de la actividad que no encuentra, en la mayoría de los casos, una solución fundamentada y efectiva. El desafío que enfrentan los directores corales en el siglo XXI se encuentra vinculado a la posibilidad de aprehender e instrumentalizar el conocimiento disponible en pos del perfeccionamiento constante y la mejora planificada del sonido vocal. Este artículo propone un recorrido por los conceptos más importantes de la Pedagogía Vocal Contemporánea (tales como los de diagnóstico, prescripción y entrenamiento vocal) y delinea los entrecruzamientos de interés para los directores corales de esta nueva era científica. -/- Sixty years ago, the operation of the voice as an instrument governed by acoustic rules and belonging to the human body and its physiological mechanisms was a mystery. Nowadays, thanks to science research, it is possible (and unavoidable) to introduce the voice from a scientifically based perspective. Choral practice is vocal practice, so that it has become essential for the choral conductor to be acquainted with new knowledge regarding Vocal Technique and Vocal Pedagogy. There are choir conductors and voice professionals who don’t know how the vocal instrument comprises in detail, what are their most important features; what are the nervous, sensorial and motor processes involved in the phonation process, and how to perceive the difficulties and kinesthetic sensations of their singers. This implies a real obstacle for the professional development of the activity. The challenge that choir directors are facing in the XXI century is linked to the possibility of apprehending and applying available knowledge in pursuit of constant improvement and planned perfectioning of vocal sound. This article proposes a path through the most important concepts of Contemporary Vocal Pedagogy (as diagnostic, prescription and vocal training) and delineates the crosslinks of interest for the choir conductors of this new scientific era. (shrink)

Theory of rock music with texts from St. Augustine, Cicero, Arnold Schonberg, Hugo Riemann, Robert Schumann.

Theory of rock music. Sheet music from R. B.