The target article sketched and explored a mechanism (action-oriented predictive processing) most plausibly associated with core forms of cortical processing. In assessing the attractions and pitfalls of the proposal we should keep that element distinct from larger, though interlocking, issues concerning the nature of adaptive organization in general.

Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.

(2013). A Hermeneutics of Sport. Sport, Ethics and Philosophy: Vol. 7, Sport and Art: An Essay in the Hermeneutics of Sport, pp. 140-167. doi: 10.1080/17511321.2012.761893.

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)

The communication of emotion in music has with few exceptions, as L. B. Meyer´s Emotion and Meaning in Music (1956) and the contour theory (Kivy 1989, 2002), focused on music structure as representations of emotions. This implies a semiotic approach - the assumption that music is a kind of language that could be read and decoded. Such an approach is largely restricted to the conscious level of knowing, understanding and communication. We suggest an understanding of music and emotion based on (...) action-perception theory - present moment perception, implicit knowledge and imitation. This theory does not demand consciousness or the use of signs. Neuroscientific findings (adaptive oscillators, mirror neurons) are in concordance with our suggestion. Recently these findings have generated articles on empathy – relevant to the understanding of music and emotion. (shrink)

The aim of this work is to account for expressions like “Cantor’s diagonal proof is elegant” or “Euler identity is the most beautiful formula of mathematics”. This type of expressions is common among mathematicians; however, they may result in two kinds of puzzled reactions: first, the non mathematician may find the use of the word ‘beautiful’ strange in this context. Second, the mathematician may try to reinterpret mathematical beauty in terms of the principles and precepts of mathematics itself. I present (...) an account of mathematical beauty that offers a way to avoid these puzzled reactions: mathematical beauty is just a type of “normal” beauty and no reinterpretation is necessary. To support this claim, I devise an aesthetic theory -by using insights and findings from experimental psychology, neurology, philosophical and psychological theories of emotion in art, philosophy of music and philosophy of science- that shows that aesthetic judgments in mathematics are genuine aesthetic judgments. (shrink)

We disagree with Juslin & Vll's (J&V's) thesis that music-evoked emotions are indistinguishable from other emotions in both their nature and underlying mechanisms and that music just induces some emotions more frequently than others. Empirical evidence suggests that frequency differences reflect the specific nature of music-evoked emotions: aesthetic and reactive rather than utilitarian and proactive. Additional mechanisms and determinants are suggested as predictors of emotions triggered by music.

Seeing, Doing, and Knowing: A Philosophical Theory of Sense Perception MOHAN MATTHEN New York, Oxford University Press, 2007384 pages, ISBN: 0199204284 (pbk); $35.00Mohan Matthen's Seeing, Doing an...

Addressed here is the psychological complexity of meter, notated and heard, in The Firebird and Part II of The Rite of Spring. Of concern from the standpoint of the listener are the competing forces of meter, displacement, and parallelism; how these forces take precedence, with melody and harmony falling into place accordingly. Duly supplanted is the motivicism of the Classical style, as Theodor Adorno observed some time ago. Also of consequence here are octatonic harmony and the strict performance style favored (...) by the composer on a life-time basis. (shrink)

In this study, we explored how the modality would affect the input, visuo-motor coordination, and execution in the advanced pianist's sight-reading processes, as well as relations among these three phases. Thirty-two advanced pianists with 5–54 years of piano training participated in the study. All participants sight-read three two-voice pieces in either major or minor mode while their eye movements were measured by an eye-tracking device. All pieces were 20-measure long written in 4/4 m, adapted from unfamiliar Baroque pieces. Results showed (...) that sight-readers fixated more frequently and tended to spend more time performing in a minor score than in a major score. This implies that modality of a score affects an efficiency of input and visuo-motor coordination in the advanced pianist's sight-reading. Spearman's correlation coefficients showed that errors were correlated positively with the number of fixations and the duration of performance. These results add more evidence to the notion that efficiencies in input and visuo-motor coordination are related to the accuracy in execution. (shrink)

his essay explores the universal nature of aesthetic, creative, and mystical experience, tracing some essential interrelations among the three. Enlarging upon the work of anthropologist Jacques Maquet, I speculate that “sensory fixedness” is both necessary and sufficient to achieve aesthetic experience, and that the unification of mind engendered by sensory fixedness is the essential source of aesthetic power. Therefore, the role of the aesthetic object (construed broadly) is either as an arbitrary sensory focusing mechanism, or as the physical embodiment of (...) a gestalt facilitating fixedness; the first category is merely attractive, while the second contains all that is truly great in art (visual and auditory). I suggest further that as both creative inspiration and mystical experience result from fixedness, both are related to aesthetic experience. However, while aesthetic experience is rooted in sensation, mystical and creative experience, though often prepared by sensory fixedness, may transcend the sensory domain altogether toward more abstract forms of mental fixedness. (shrink)

In the mid-eighteenth century music underwent a sudden and drastic revolution when composers “discovered” a new dimension to their art. This had immense repercussions on the philosophy of art, for the music created before and after this divide represents two different species of aesthetic experience, which in due course affected our understanding of the meaning and import of the other arts as well. Despite the immense aesthetic repercussions of this Copernican revolution in music, philosophers of art seem not to have (...) taken much notice of it. This essay details the emergence of the relevant musical criteria during the eighteenth century and dwells on their long-term impacts on the philosophy of art. (shrink)

The kind of collective improvisation attained by the “free jazz” at the beginning of the sixties sets a challenge to analytic theories of collective intentionality, that emphasize the role played by future-directed plans in the interlocking and interdependent intentions of the individual participants, because in the free jazz case the performers’ interdependence or [interplay] stems from an intuitive understanding between musicians. Otherwise said: what happens musically is not planned in advance, but arises from spontaneous interactions in the group. By looking (...) at the way jazz improvisers take up the challenge of making music together without a pre-conceived notion as to what kind of effect they will achieve and without a pre-set code of agreements, my aim has been to clarify what kind of strategies — other than advanced action plans and joint commitments — are used by improvising musicians to integrate their improvisations into a unified shared activity. In developing this proposal I initially drawn pre-theoretically on one paradigmatic study case — Ornette Coleman’s double quartet Free Jazz, A collective Improvisation and brought it in conversation with Husserl’s phenomenology of time. In a final move, I brought this phenomenological frame into dialogue with some recent readings of the predictive coding model. All in all, what we learned from the Free Jazz case is that the interdependence and interlocking of attitudes among individual participants characteristic of shared intention is not determined by a future-directed plan and the rational pressure to be responsive to and coordinate with others, it typically engages. Rather, in the free jazz case, the performers’ connection and interplay depend on the players’ readiness to feel each other out, by listening to each other playing, in a way that no doubt presupposes the Husserlian retention-protention scheme. (shrink)

Listening to music can be an intensely moving experience. Many people love music in part because of its power to alter or amplify their moods, and turn to music for inspiration, comfort, or therapy. It is a puzzle, then, why many of us spend so much time listening to sad music. If music can influence our moods, and assuming that most people would prefer to be happy not sad, why would we choose to listen to sad music? I revisit the (...) question of why we like sad music, drawing from work in both the philosophy and psychology of music, as well as work in the philosophy and science of affect. I argue to shift the focus of the question to music-induced moods, not emotions. This reframes the debate but does not dissolve the paradox. To understand what is appealing about the affective experience of listening to sad music I suggest we take into account the unique features of music-induced sad mood. I argue that sad mood and a certain sort of focused music listening are mutually reinforcing in ways that differ from other mood/music interactions. Sad mood and sad music are, in a sense, made for each other. (shrink)

Empirical evidence is reviewed indicating that the extraordinary aspects of the human mind are due to our species’ ability to go beyond simple “dyadic associations” and to process the relations among three items of information simultaneously. Classic explanations of the “triadic” nature of human skills have been advocated by various scholars in the context of the evolution of human cognition. Here I summarize the core processes as found in (i) the syntax of language, (ii) tool-usage, and (iii) joint attention. I (...) then review the triadic foundations of two perceptual phenomena of great importance in human aesthetics: (iv) harmony perception and (v) pictorial depth perception. In all five subfields of human psychology, most previous work has emphasized the recursive, hierarchical complexity of such “higher cognition”, but a reductionist approach indicates that the core mechanisms are triadic. It is concluded that the cognitive skills traditionally considered to be “uniquely” human require three-way associational processing that most non-Primate animal species find difficult or impossible, but all members of Homo sapiens – regardless of small individual and cultural differences – find easy and inherently intriguing. (shrink)

Philosophers of music and psychologists have examined the various ways in which music is capable of arousing emotions in a listener. Among philosophers, opinions diverge as to the different types of music-induced emotions and as to their relevance to music listening. A somewhat neglected question concerns the possibility of developing a general criterion for the artistic relevance of music-induced emotions. In this paper, I will try to formulate such a criterion. In whatever way music may induce emotions and regardless of (...) the sorts of emotion music is taken to arouse, a given emotion will qualify as artistically relevant if and only if it is caused by appropriate listening, it is dependent on features of the piece of music as a work of art and is capable of further directing our attention to such features. (shrink)

Blanchot’s Thomas the Obscure and Death Sentence are marked by the imperative to hear the call of night, of darkness, and death. In each work, the ear is enlisted to undermine the prominence accorded to the eye. If sight is essential to measure and confirm the space separating subjects from objects or subjects from other subjects, Blanchot introduces hearing as a way to collapse this protective distance. The border between inside and outside becomes porous, and the subject is no longer (...) protected by vision’s capacity to establish a neutral and demonstrable distance between itself and the object of sight. As vision becomes catastrophic, hearing assumes an ascendant role. Thomas and Anne each hear the call of death, as well as cries, laments and sudden sounds that burst through silence. The characters of Death Sentence also hear and respond to a variety of calls, including the call to yield to death and the open grave. In both works, Blanchot provides a literary space in which sounds... (shrink)

We argue that a formal semantics for music can be developed, although it will be based on very different principles from linguistic semantics and will yield less precise inferences. Our framework has the following tenets: Music cognition is continuous with normal auditory cognition. In both cases, the semantic content derived from an auditory percept can be identified with the set of inferences it licenses on its causal sources, analyzed in appropriately abstract ways. What is special about music semantics is that (...) it aggregates inferences based on normal auditory cognition with further inferences drawn on the basis of the behavior of voices in tonal pitch space. This makes it possible to define an inferential semantics but also a truth-conditional semantics for music. In particular, a voice undergoing a musical movement m is true of an object undergoing a series of events e just in case there is a certain structure-preserving map between m and e. Aspects of musical syntax might be derivable on semantic grounds from an event mereology, which also explains some cases in which tree structures are inadequate for music. Intentions and emotions may be attributed at several levels, and we speculate on possible explanations of the special relation between music and emotions. (shrink)

One hundred years on from the infamous premiere of The Rite of Spring, Stravinsky’s epoch-defining ballet continues to evoke controversy and contention in both musicological and performance circles. Even to call it a ballet is to overlook, or compound, its problematic identity. Throughout its life span, most audiences will have encountered, valorised and identified the work as a landmark of orchestral musical modernism heard primarily, perhaps even exclusively, in concert halls and on audio recordings with not a dancer, theatre stage (...) or set in sight. Still to this day it thus remains one of music’s more remarkable split personalities: bifurcated along formalist and contextualist lines by Stravinsky’s ret⁠rospective and opportunistic assertion that he had written “un oeuvre architectonique et non anecdotique.”. (shrink)

Recent experimental psychological research on visual perception, auditory perception, and cross-modal perception has shed light on how these processes differ, and how the relations between visual and auditory stimuli shade our understanding of the events perceived. This work offers a possible way into considering the question of how music and dance “go together” or not, and particularly may shed light on the unusual twentieth-century human behavior of NOT having music and dance “go together.” Our paper presents relevant research in perception, (...) examines factors contributing to the separation of perceptual modalities that has often appeared in twentieth-century dance, and discusses the separation in terms of the specific behaviors of dancing and looking at dance. (shrink)

This paper discusses contemporary empirical approaches to the topic of music and emotions that are conducted at the intersection of psychology, neuroscience and musicology. I show that within this interdisciplinary programme a number of general issues were posed that are not that distant from the questions asked by the classical authors such as Stravinsky and Hanslick. The main purpose of the paper is to show that there are three areas of cognitive and behavioural activity of the listener and the respective (...) types of musical emotions: embodied emotions, cognitive emotions, as well as associative and contextual emotions. (shrink)

While inanimate objects can neither experience nor express emotions, in principle they can be expressive of emotions. In particular, music is a paradigmatic example of something expressive of emotions that surely cannot feel anything at all. The Contour theory accounts for music expressiveness in terms of those resemblances that hold between its external and perceivable properties and the typical contour of human emotional behavior. Provided that some critical aspects are emended – notably, the stress on the perception of similarity instead (...) of the more plausible hypothesis that the listener perceives manifestations that are similar – we are inclined to endorse contour theory. In particular, we share its basic idea that expressive properties are perceived. Although other kinds of processes – high-level conceptual inferences, imagination – sometimes characterize our encounters with music, still perception constitutes the standard process underlying the detection of expressiveness. Moreover, we propose to extend contour theory to visual arts. Taking into consideration, as a case study, depicted landscapes, we observe that they frequently cannot but express emotions such as joy, sadness, liveliness or melancholy. The fact that pictures, unlike music, lack any temporal dimension is a prima facie reason for doubting the extendibility of contour theory’s conceptual arsenal to them. Nevertheless, while being obviously unable to behave somehow, we claim that depicted landscapes can perfectly convey dynamic information. If this is the case, the extension of the notion of contour to visuals art via the stress on the notion of dynamism would represent a second interesting revision of contour theory. (shrink)

Neurological syndromes in which consciousness seems to malfunction, such as temporal lobe epilepsy, visual scotomas, Charles Bonnet syndrome, and synesthesia offer valuable clues about the normal functions of consciousness and ‘qualia’. An investigation into these syndromes reveals, we argue, that qualia are different from other brain states in that they possess three functional characteristics, which we state in the form of ‘three laws of qualia’. First, they are irrevocable: I cannot simply decide to start seeing the sunset as green, or (...) feel pain as if it were an itch; second, qualia do not always produce the same behaviour: given a set of qualia, we can choose from a potentially infinite set of possible behaviours to execute; and third, qualia endure in short-term memory, as opposed to non-conscious brain states involved in the on-line guidance of behaviour in real time. We suggest that qualia have evolved these and other attributes because of their role in facilitating non-automatic, decision-based action. We also suggest that the apparent epistemic barrier to knowing what qualia another person is experiencing can be overcome by using a ‘bridge’ of neurons; and we offer a hypothesis about the relation between qualia and one's sense of self. (shrink)

In this article I propose a theory of musical meaning and experience which takes into consideration the dialectical relationship between musical text and context, and which is flexible enough to apply to a range of musical styles. Through this theory I examine the roles played by the school music classroom which, despite the multiplicity of musical styles now incorporated into schooling, continues to contribute to the reproduction of existing social relations in the wider society. I consider how music itself can (...) be understood to construct and communicate apparent ‘truths’ about ourselves and society and what role the classroom plays in perpetuating those ‘truths’. Finally I argue for a partial but necessary reinstatement of the much‐maligned notion of musical autonomy as a critical moment in any attempt to change things. (shrink)

This article discusses listening that is appropriate to sound art and the associated changes in the paradigms, or thought patterns, that occur so often when we move from visual to aural perception. The distinction between historically accepted and rejected sounds is used to show how putting sounds in cages has fashioned a form of listening and of life. Twentieth-century experimental music and, especially, the music and the reflections of John Cage have opened these cages of sound and at the same (...) time weakened the visual paradigm for intellectual knowledge. This article examines sound art as a place where artistic practices coincide with certain theoretical issues centered on sound. The centrality of sound is approached first, and music and sound art are discussed in relation to space. Second, the attention to sound in the reception of prominent examples of sound art focuses on site-specific relationships with the city and with listening. The article concludes by affirming the need for an aesthetic reflection that takes into consideration the implications of these profound transformations. However, that is another cage yet to be opened. (shrink)

A basic function of cognition is to detect regularities in sensory input to facilitate the prediction and recognition of future events. It has been proposed that these implicit expectations arise from an internal predictive coding model, based on knowledge acquired through processes such as statistical learning, but it is unclear how different types of statistical information affect listeners’ memory for auditory stimuli. We used a combination of behavioral and computational methods to investigate memory for non-linguistic auditory sequences. Participants repeatedly heard (...) tone sequences varying systematically in their information-theoretic properties. Expectedness ratings of tones were collected during three listening sessions, and a recognition memory test was given after each session. Information-theoretic measures of sequential predictability significantly influenced listeners’ expectedness ratings, and variations in these properties had a significant impact on memory performance. Predictable sequences yielded increasingly better memory performance with increasing exposure. Computational simulations using a probabilistic model of auditory expectation suggest that listeners dynamically formed a new, and increasingly accurate, implicit cognitive model of the information-theoretic structure of the sequences throughout the experimental session. (shrink)

Musical knowledge is largely implicit. It is acquired without awareness of its complex rules, through interaction with a large number of samples during musical enculturation. Whereas several studies explored implicit learning of mostly abstract and less ecologically valid features of Western music, very little work has been done with respect to ecologically valid stimuli as well as non-Western music. The present study investigated implicit learning of modal melodic features in North Indian classical music in a realistic and ecologically valid way. (...) It employed a cross-grammar design, using melodic materials from two modes that use the same scale. Findings indicated that Western participants unfamiliar with Indian music incidentally learned to identify distinctive features of each mode. Confidence ratings suggest that participants' performance was consistently correlated with confidence, indicating that they became aware of whether they were right in their responses; that is, they possessed explicit judgment knowledge. Altogether our findings show incidental learning in a realistic ecologically valid context during only a very short exposure, they provide evidence that incidental learning constitutes a powerful mechanism that plays a fundamental role in musical acquisition. (shrink)

The online processing of both music and language involves making predictions about upcoming material, but the relationship between prediction in these two domains is not well understood. Electrophysiological methods for studying individual differences in prediction in language processing have opened the door to new questions. Specifically, we ask whether individuals with musical training predict upcoming linguistic material more strongly and/or more accurately than non-musicians. We propose two reasons why prediction in these two domains might be linked: Musicians may have greater (...) verbal short-term/working memory; music may specifically reward predictions based on hierarchical structure. We provide suggestions as to how to expand upon recent work on individual differences in language processing to test these hypotheses. (shrink)

The subject of musical emotions has emerged only recently as a major area of research. While much work in this area offers fascinating insights to musicological research, assumptions about the nature of emotional experience seem to remain committed to appraisal, representations, and a rule-based or information-processing model of cognition. Over the past three decades alternative ‘embodied’ and ‘enactive’ models of mind have challenged this approach by emphasising the self-organising aspects of cognition, often describing it as an ongoing process of dynamic (...) interactivity between an organism and its environment. More recently, this perspective has been applied to the study of emotion in general, opening up interesting new possibilities for theory and research. This new approach, however, has received rather limited attention in musical contexts. With this in mind, we critically review the history of music and emotion studies, arguing that many existing theories offer only limited views of what musical-emotional experience entails. We then attempt to provide preliminary grounding for an alternative perspective on music and emotion based on the enactive/dynamic systems approach to the study of mind. (shrink)

It does not typically seem to be worthwhile rewatching a sport match, for example, in a video recording, once the result is known. Sports matches are like detective stories. Once one knows ‘whodunit’, there seems little point in revisiting the tale. By drawing on an argument from musicologist Edward T. Cone, this paper argues that certain sports matches may be revisited with profit. The initial experience of a game may be of a series of events that are often ambiguous or (...) confusing as to their meaning or purpose. The full appreciation of a sport match requires, not just this initial familiarity with the immediately perceived events of the game, but also an awareness of the tactics being deployed by both sides. An understanding of tactics and strategy is akin to the analysis of a piece of music. A further viewing of the game, during which one can appreciate how the tactics inform the events naively experienced in the first viewing, will yield, it will be argued, an aesthetic pleasure. This takes the experience of sport beyond the merely entertaining or exciting. In certain games, the third viewing may also transcend an appreciation of the merely formal qualities of the game, and so offer substantial insights into what it is to be human. (shrink)

Emotion regulation is an umbrella term to describe interactive, goal-dependent explicit and implicit processes that are intended to help an individual manage and shift an emotional experience. The primary window for appropriate emotion regulation development occurs during the infant, toddler, and preschool years. Atypical emotion regulation development is considered a risk factor for mental health problems and has been implicated as a primary mechanism underlying childhood pathologies. Current treatments are predominantly verbal- and behavioral-based and lack the opportunity to practice in-the-moment (...) management of emotionally charged situations. There is also an absence of caregiver-child interaction in these treatment strategies. Based on behavioral and neural support for music as a therapeutic mechanism, the incorporation of intentional music experiences, facilitated by a music therapist, may be one way to address these limitations. Musical Contour Regulation Facilitation is an interactive therapist-child music-based intervention for emotion regulation development practice in preschoolers. The Musical Contour Regulation Facilitation intervention uses the deliberate contour and temporal structure of a music therapy session to mirror the changing flow of the caregiver-child interaction through the alternation of high arousal and low arousal music experiences. The purpose of this paper is to describe the Therapeutic Function of Music, a theory-based description of the structural characteristics for a music-based stimulus to musically facilitate developmentally appropriate high arousal and low arousal in-the-moment emotion regulation experiences. The Therapeutic Function of Music analysis is based on a review of the music theory, music neuroscience, and music development literature and provides a preliminary model of the structural characteristics of the music as a core component of the Musical Contour Regulation Facilitation intervention. (shrink)