This article provides a critical analysis of the situationist challenge against Aristotelian moral psychology. It first outlines the details and results from 4 paradigmatic studies in psychology that situationists have heavily drawn upon in their critique of the Aristotelian conception of virtuous characteristics, including studies conducted by Hartshorne and May (1928), Darley and Batson (1973), Isen and Levin (1972), and Milgram (1963). It then presents 10 problems with the way situationists have used these studies to challenge Aristotelian moral psychology. After (...) challenging the situationists on these grounds, the article then proceeds to challenge the situationist presentation of the Aristotelian conception, showing that situationists have provided an oversimplified caricature of it that goes against the grain of much Aristotelian text. In evaluating the situationist challenge against the actual results from empirical research as well as primary Aristotelian text, it will be shown that the situationist debate has advanced both an extreme, untenable view about the nature of characteristics and situations, as well as an inaccurate presentation of the Aristotelian view. (shrink)

Does martial arts practice contribute to psychological well-being in professional martial artists? If so, what are the specific ways that martial arts practice accomplishes this? It has been a long-standing and widely held belief that martial arts practice can contribute to psychological well-being, however, there has been a lack of empirical research in the psychological literature focused on investigating the details of this hypothesis. The purpose of this research is therefore to investigate the impact of a paradigmatic martial arts practice—shadowboxing—on (...) the psychological well-being of professional martial artists. In this article I present the results from an original empirical study on professional Muay Thai practitioners (n = 14) that reveals how a martial arts practice (shadowboxing) contributes to their overall psychological well-being by contributing to their positive emotions, engagement, relationships, meaning, and accomplishment. I present general results for how shadowboxing contributes to the psychological well-being of these professional martial artists overall, as well as more specific results for how shadowboxing contributes to the psychological well-being of these professional martial artists based on factors such as their gender, fight experience, and training location. This article also provides qualitative first-person reports from professional Muay Thai practitioners (n = 14) about their use of visualization and mental imagery and their experience of flow while shadowboxing, offering unique insight into the minds of professional martial artists as they are actively engaged in their craft. Finally, this article discusses the value and limitations of the present study and outlines suggestions for future research. (shrink)

We propose capability as a universal or type intermediate between function and disposition. A capability is, broadly speaking, a disposition that is of a type whose instances can be evaluated on the basis of how well they are realized. A function, on the view we are proposing, is a capability the possession of which is the rationale for the existence of its bearer. To say for example that a water pump has the function to pump water is to say that (...) the pump exists because something was needed that would pump water. A water pump may have many capabilities, including: to be weatherproof, to run without lubricant, to be transportable, and so forth. But its function is to pump water. We focus here on capabilities possessed by humans – such as piano playing or language using – and we explore the relation between capabilities of these sorts and structures in the brain. (shrink)

Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist account. This approach (...) proposes that the phenomenon of perception of emotions in music arises from the interaction of music’s ability to express core affects and the influence of top-down and contextual information in the listener’s mind. We start by reviewing the problems with the concept of Basic Emotions, and the inconsistent evidence that supports it. We also demonstrate how decades of developmental and cross-cultural research on music and emotional speech have failed to produce convincing findings to conclude that music expressivity is built upon a set of biologically pre-determined basic emotions. We then examine the cue-emotion consistencies between music and speech, and show how they support a parsimonious explanation, where musical expressivity is grounded on two dimensions of core affect (arousal and valence). Next, we explain how the fact that listeners reliably identify basic emotions in music does not arise from the existence of categorical boundaries in the stimuli, but from processes that facilitate categorical perception, such as using stereotyped stimuli and close-ended response formats, psychological processes of construction of mental prototypes, and contextual information. Finally, we outline our proposal of a constructionist account of perception of emotions in music, and spell out the ways in which this approach is able to make solve past conflicting findings. We conclude by providing explicit pointers about the methodological choices that will be vital to move beyond the popular Basic Emotion paradigm and start untangling the emergence of emotional experiences with music in the actual contexts in which they occur. -/- . (shrink)

For some time now moral psychologists and philosophers have ganged up on Aristotelians, arguing that results from psychological studies on the role of character-based and situation-based influences on human behavior have convincingly shown that situations rather than personal characteristics determine human behavior. In the literature on moral psychology and philosophy this challenge is commonly called the “situationist challenge,” and as Prinz has previously explained, it has largely been based on results from four salient studies in social psychology, including the studies (...) conducted by Hartshorne and May, Milgram, Isen and Levin, and Darley and Batson. The situationist challenge maintains that each of these studies seriously challenges the plausibility of virtuous personal characteristics by challenging the plausibility of personal characteristics more generally. In this article I undermine the situationist challenge against Aristotelian moral psychology by carefully considering major problems with the conclusions that situationists have drawn from the empirical data, and by further challenging the accuracy of their characterization of the Aristotelian view. In fact I show that when properly understood the Aristotelian view is not only consistent with empirical data from developmental science but can also offer important insights for integrating moral psychology with its biological roots in our natural and social life. (shrink)

This paper presents a model for the implementation of educational activities involving musical improvisation that is based on a review of the literature on the psychology of music. Psychology of music is a complex field of research in which quantitative and qualitative methods have been employed involving participants ranging from novices to expert performers. The cognitive research has been analyzed to propose a pedagogical approach to the development of processes rather than products that focus on an expert’s use of improvisation. (...) The intention is to delineate a reflective approach that goes beyond the mere instruction of some current practices of teaching improvisation in jazz pedagogy. The review highlights that improvisation is a complex, multidimensional act that involves creative and performance behaviors in real-time in addition to processes such as sensory and perceptual encoding, motor control, performance monitoring, and memory storage and recall. Educational applications for the following processes are outlined: anticipation, use of repertoire, emotive communication, feedback, and flow. These characteristics are discussed in relation to the design of a pedagogical approach to musical improvisation based on reflection and metacognition development. (shrink)

I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances – via soliciting different forms of entrainment – enhance the functionality of various endogenous, emotiongranting regulative processes, drawing novel experiences out of us with an expanded complexity and phenomenal (...) character. I argue that music therefore ought to be thought of as part of the vehicle needed to realize these emotional experiences. I appeal to different sources of empirical work to develop this idea. (shrink)

Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns of (...) inter-musician movement coordination as revealed by the mathematical tools of complex dynamical systems to provide a new understanding of what potentiates the novelty of spontaneous musical action. We demonstrate this approach through the application of cross wavelet spectral analysis, which isolates the strength and patterning of the behavioral coordination that occurs between improvising musicians across a range of nested time-scales. Revealing the sophistication of the previously unexplored dynamics of movement coordination between improvising musicians is an important step towards understanding how creative musical expressions emerge from the spontaneous coordination of multiple musical bodies. (shrink)

The question of what constitutes and facilitates mental health or psychological well-being has remained of great interest to martial artists and philosophers alike, and still endures to this day. Although important questions about well-being remain, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would characteristically consist of positive emotion, engagement, relationships, meaning, and accomplishment. Other scholarship has also recently suggested that martial arts practice may positively promote psychological well-being, although recent (...) studies on martial arts 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 the literature by reviewing recent work on psychological well-being and martial arts to determine whether there is substantive support for the claim that practicing martial arts can positively contribute to one flourishing with greater psychological well-being. (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)

In “Flourish,” the psychologist Martin Seligman proposed that psychological well-being consists of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes flourishing or psychological well-being has been long debated among scholars, the recent literature has suggested that a paradigmatic or prototypical case of psychological well-being would manifest most or all of the aforementioned PERMA factors. The recent literature on poetry therapy has also suggested that poetry practice may be utilized as “an effective therapeutic tool” for (...) patients suffering from a variety of ailments so it seems plausible that practicing poetry can positively contribute to one flourishing with greater psychological well-being. However, recent studies on poetry therapy 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 poetry therapy and psychological well-being and offering support for the claim that practicing poetry can positively contribute to one flourishing with greater psychological well-being by positively influencing their emotions, engagement or “flow” experiences, social relationships, sense of meaning or purpose in life, and personal accomplishments. (shrink)

Musical performance requires the ability to master a complex integration of highly specialized motor, cognitive and perceptual skills developed over years of practice. It often means also being able to deal with a large amount of pressure within dynamic environments. Consequently, many musicians suffer from health-related problems and have a large number of physical and psychological complaints. Research has shown that making music can present challenges for musicians’ wellbeing. Therefore, our research aims to evaluate and analyze the wellbeing of two (...) distinct groups of respondents, college music students compared with amateur musicians in the French-speaking part of Switzerland, this second group serving as our comparison group. This article presents the results of a sample of 126 musicians (mean age ± SD = 22.4 ± 4.5 years, 71 male). The wellbeing was assessed through the World Health Organization Quality of Life-BREF questionnaire evaluating two general measures, Quality of Life and General health, and four specific dimensions, Physical health, Psychological health, Social relationships and Environment. The respondents’ Quality of Life was high on each measure: median scores were higher than 4 for the first two measures and higher than 70 for the four specific dimensions. Among the dimensions, respondents had the highest mean score for Social relationships and Physical health (74.0 and 73.8, respectively) and, finally, on Psychological health (70.3). Our overview of musicians’ wellbeing in Western Switzerland underlines the importance of helping musicians to be aware of their health in order to take care of themselves. This research offers an important insight into musicians’ health and point out the importance of involving different actors (teachers, administrators or support staff) to promote their wellbeing and empower musicians. (shrink)

Obwohl es "die Zeit" nicht gibt, ordnet sich doch alles, was wir erleben, zeitlich. Auch die großen Schlagworte unserer Tage betreffen allesamt von zeitlichen Herausforderungen: Nachhaltigkeit, Resilienz, Transformation, Zeitenwende. Dieses Buch handelt davon, was Zeitliches ausmacht, warum sich die Wirklichkeit zeitlich ordnet und was das mit der wechselseitigen Taktung von Ereignissen und Autonomieerfahrungen zu tun hat. Es werden Missverständnisse aufgelöst, indem aufgezeigt wird, inwiefern es "die Zeit" nicht gibt, es oftmals sogar leidvolle bis hin zu pathologischen Konsequenzen mit sich bringt, (...) wenn Zeit als Gegenstand oder Ressource betrachtet wird. Es ist ein Buch über den Vergleich von Abläufen und darüber, was es bedeutet, wenn Ereignisse miteinander im Takt sind, und wie sie durch Wiederholung und Variation Bedeutung gewinnen und damit "intakt" wirken. Musik und vor allem das Hören dienen als Modelle, um diese allgemeinen zeitlichen Struktureigenschaften der Wirklichkeit begrifflich anklingen zu lassen. Darüber hinaus regen Hyperlinks zu konkreten Hörbeispielen dazu an, sich direkt auch auf besondere Erfahrungen von Zeit einzulassen. - Ein Buch für all diejenigen, die Grundlegendes über Zeit nicht nur lesen wollen, sondern sich im Idealfall auch für einen taktvollen Umgang mit Zeit motivieren lassen möchten. (shrink)

As the COVID-19 pandemic continues to disrupt our lives in unimagined ways, families are reinventing daily rituals, and this is likely true for musical rituals. This study explored how parents with young children used recorded music in their everyday lives during the pandemic. Mothers of child aged 18 months to 5 years living in the United States played the role of home DJ over a period of one week by strategically crafting the sonic home environment, based on resources provided by (...) the authors, in response to their children’s mood and state. Using a newly developed data collection tool, inspired by the Experience Sampling Method, a total of 197 episodes were collected about children’s engagement with recorded music. Findings showed that while mothers utilized music to fulfill various emotional needs, they tended to use it to maintain or reinforce their child’s positive mood rather than to improve a negative mood. Also, mothers’ reports suggested various ways that young children engaged with music, being aligned with the multimodal nature of their musical experiences. Lastly, mothers reported that their strategic approaches to use recorded music seemed to help their children feel less distressed and happier, and this, in turn, aided in the reduction of some of the burdens associated with parenting. (shrink)