There are compelling reasons to believe that musical works are abstract. However, this hypothesis conflicts with the platitude that musical works are appreciated by means of audition: the things that enter our ear canals and make our eardrums vibrate must be concrete, so how can musical works be listened to if they are abstract? This question constitutes the audibility problem. In this paper, I assess Julian Dodd’s elaborate attempt to solve it, and contend that Dodd’s attempt is unsuccessful. Then (...) I discuss what I take to be the ideal response to the audibility problem, and show that it ultimately fails. I contend, consequently, that the project of construing musical works as audible is disheartening. Accordingly, in my last section, I will argue the audibility problem may be satisfactorily resolved without ascribing audibility to musical works. (shrink)

Pitch is an audible quality of sound which can be explained not only in terms of strong correlation with sound waves’ properties, but also by a neat correlation to the properties of the sounding object. This seems to be in favour of the theory of sound labelled “distal view”, according to which sound is the vibration of the sounding object.

We hear sounds, and their sources, and their audible qualities. Sounds and their sources are essentially dynamic entities, not wholly present at any given moment, but unfolding through their temporal interval. Sounds and their sources, essentially dynamic entities, are the bearers or susbtrata of audible qualities. Audible qualities are qualities essentially sustained by activity. The only bearers of audible qualities present in auditory experience are essentially dynamic entities. Bodies are not, in this sense, essentially dynamic entities and so are not (...) present in our auditory experience. Though absent in auditory experience, we may, nonetheless, attend to bodies in audition, when an audible sound-generating event in which they participate presents a dynamic aural image of them. (shrink)

In the realm of the philosophy of sounds and auditory experience there is an ongoing discussion concerned with the nature of sounds. One of the contestant views within this ontology of sound is that of the Property View, which holds that sounds are properties of the sounding objects. A way of developing this view is through the idea of dispositionalism, namely, by sustaining the theory according to which sounds are dispositional properties (Pasnau 1999; Kulvicki 2008; Roberts 2017). That portrayal, however, (...) is not sufficient, as it has not inquired the metaphysical debates about dispositions beyond the conditional analysis. In this paper, I try to advance this view by including recent developments (for instance Bird 2007; Vetter 2015) in the field of dispositionalism and I analyse whether this new version can sort out known and new objections to Property View. (shrink)

objects are standardly taken to be causally inert, but this claim is rarely explicitly argued for. In the context of his platonism about musical works, in order for musical works to be audible, Julian Dodd argues that abstracta are causally efficacious in virtue of their concrete tokens participating in events. I attempt to provide a principled argument for the causal inertness of abstracta by first rejecting Dodd’s arguments from events, and then extending and generalizing the causal exclusion argument to the (...) abstract/concrete distinction. For reasons of parsimony, if concrete tokens or instantiations of abstract objects account for all causal work, then there is no reason to attribute causal efficacy to abstracta, and thus reason to maintain their causal inertness. I then consider how one of the main arguments against causal exclusion, namely Stephen Yablo’s notion of “proportionality”, could be modified to support the causal efficacy of abstracta. I argue that from a few simple premises Yablo’s account in fact supports their causal inertness. Having a principled reason for the causal inertness of abstracta appears to entail that the musical platonist must admit that we never literally hear the musical work, but only its performances. I sketch a solution to this problem available to Dodd, so that the musical platonist can maintain that musical works are abstract objects and are causally inert while retaining their audibility. (shrink)

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

Against claims that cognitive science of religion undercuts belief in God, many defenders of theistic belief have invoked the Religious Reasons Reply: science cannot undercut belief in God if one has good independent reasons to believe. However, it is unclear whether this response helps salvage the god beliefs of most people. This paper considers four questions: (1) What reasons do Christians have for believing in God? (2) What kinds of beliefs about God can the reasons support? (3) Are the reasons (...) rationalizations? (4) Can cognitive science undercut the reasons? Many Christians invoke everyday religious experiences (EREs)—such as experiences of divine presence, guidance, and communication—as reasons to believe. Unlike another popular reason to believe in God (the appearance of design and beauty in nature), EREs can support beliefs about a relational God who is present to me, who guides my life, and who speaks to me. EREs are not rationalizations since they seem to cause and sustain such beliefs. Nonetheless, EREs like experiences of hearing God speak are problematic reasons to believe. ‘Soft’ voice-hearing experiences are easily undercut. ‘Hard’ experiences of an external, audible voice are probably underpinned by similar cognitive processes as audio-verbal hallucinations. (shrink)

The comprehension of anaphoric relations may be guided not only by discourse, but also syntactic information. In the literature on online processing, however, the focus has been on audible pronouns and descriptions whose reference is resolved mainly on the former. This paper examines one relation that both lacks overt exponence, and relies almost exclusively on syntax for its resolution: adjunct control, or the dependency between the null subject of a non-finite adjunct and its antecedent in sentences such as Mickey talked (...) to Minnie before ___ eating. Using visual world eyetracking, we compare the time course of interpreting this null subject and overt pronouns (Mickey talked to Minnie before he ate). We show that when control structures are highly frequent, listeners are just as quick to resolve reference in either case. When control structures are less frequent, reference resolution based on structural information still occurs upon hearing the non-finite verb, but more slowly, especially when unaided by structural and referential predictions. This may be due to increased difficulty in recognizing that a referential dependency is necessary. These results indicate that in at least some contexts, referential expressions whose resolution depends on very different sources of information can be resolved approximately equally rapidly, and that the speed of interpretation is largely independent of whether or not the dependency is cued by an overt referring expression. (shrink)

Jacopo Baboni Schilingi’s interactive musical compositions Argo and Terra play with time, space, and material sound to capture a symbiotic relationship between technology and the most intimate process fundamental to life: breathing. Argo reacts to the artist’s respiration in “real time,” generating an “infinite” sequence of diverse musical arrangements that question the relation between the human body and technology and contingency and programming. Noting the egotistical tendencies of artists, Schilingi likens himself to Odysseus, the master of Argo, the name given (...) to his faithful technological invention. This theme of mastery is revisited in Terra where Schilingi’s hands, covered in sensors, manipulate both the musical composition and the dance movements of a female body, a body whose fertile tension both emerges and withdraws in a battle akin to Heidegger’s earth/world strife. This chapter provides a hermeneutic reading of Argo and Terra within a Heideggerian framework that does not, as Luce Irigaray has noted, forget air. Irigaray states, “Air does not show itself. As such, it escapes as (a) being. It allows itself to be forgotten.” Schilingi’s generative music makes air visible and hauntingly audible, as the music can only be stopped when the artist’s life comes to an end. (shrink)

Studios resist reductive analyses. Although isolated, they have their own frontstages and backstages, and like the laboratories studied by Knorr-Cetina, function as more than simply “internal environments.” The placeness of studios leaves both audible traces (the early reflections of sounds) and visible ones, if we think of those studios that become shrines or pilgrimage sites, or photo or video documentation of studios that provide the outside world a brief glimpse into the interior isolation of recording studio life. It would seem (...) that major facilities such as Abbey Road, Ocean Way or Sun Records are emphatically not “placeless place[s]” (Gieryn 2008), nor are they decontextualized from their immediate geographic surroundings. -/- Although atomized project studios (including bedroom studios, garages, and barns) may not immediately appear to be embedded within the social relations of a bounded local culture, many such studios are embedded within the social relations of specific online networked cultures,20 as is evinced by the vibrant online recording engineer communities that support everything from amateur acoustician pedagogy to advanced mixing techniques and even online mixing/remixing competitions. Such studios can be considered as “local anchoring points in the cultural metropolises of the global urban network” (Watson, Hoyler and Mager 2009). Knorr-Cetina (1992) suggests something similar when she discusses how laboratories function not just as “internal environments” but rather as “a link between internal and external environments, a border in a wider traffic of objects and observations”. Like their larger counterparts, project studios are acoustic environments isolated from various perceived outsides, use the very same technologies of audition to make up for the constrained paths of audibility, and similarly shape the kinds of musical and social practices that can transpire within (even if this shaping process effectively restricts the studio’s usage to a single musician at a time). I argue that the more we wish to understand the vibe and sound of the studios, the more we may wish to consider the studio as an active agent in the process of recording production, an actor in the social worlds that inhabit its very wombs and bunkers. (shrink)

The quantum-dynamic theory of musical forms redefines music as an ontological and noematic phenomenon, extending beyond its traditional auditory interpretation. This theory proposes that music represents the acoustic expression of thought vibrations, where each melody and harmony serves as a direct manifestation of universal noetic structures. Tonal forms are conceptualized as carriers of metaphysical and philosophical truths, bridging the gap between human discursiveness and the divine. Through specific examples, such as Bach's Toccata and Fugue in D Minor and Beethoven's Pastoral (...) Symphony, the theory illustrates how music encapsulates theological and philosophical principles, such as the theology of creation and Schelling's philosophy of nature. The theory emphasizes music's infinite hermeneutic potential, positioning it as a medium for translating noematic content into discursive narratives. It regards composers as intermediaries who channel noetic inspiration into audible forms, rendering music a divine and ontological artifact. Drawing parallels with Hermann Hesse's The Glass Bead Game, the theory frames music as a central element of universal synthesis, capable of connecting art, science, and philosophy. Ultimately, music is viewed as an aesthetic-ontological phenomenon that transcends the category of meaning, revealing the sanctity and preciousness of existence. This theory not only deepens our understanding of music but also illuminates the fundamental essence of the universe, offering a framework for exploring the translation of noematic content into tonal forms. (shrink)

Both Franz Brentano and Edmund Husserl addressed sound while trying to explain the inner consciousness of time and gave to it the status of a supporting example. Although their inquiries were not aimed at clarifying in detail the nature of the auditory experience or sounds themselves, they made some interesting observations that can contribute to the current philosophical discussion on sounds. On the other hand, in analytic philosophy, while inquiring the nature of sounds, their location, auditory experience or the audible (...) qualities and so on, the representatives of that trend of thought have remained silent about the depiction of sound and the auditory phenomena in the phenomenological tradition. The paper’s intention is to relate both endeavours, yet the perspective carried out is that of analytic philosophy and, thus, I pay special attention to conceptual analysis as a methodological framework. In this sense, I first explain what sound ontology is in the context of analytic philosophy and the views that it encompasses— namely, the Property View (PV), the Wave View (WV) and the Event View (EV)—. Secondly, I address the problems it entails, emphasising that of sound individuation. In a third section, I propose the possibly controversial conjunction of a “Brentano-Husserl Analysis of the Consciousness of Time” (for short “Brentano-Husserl analysis”) and outline the commonalities of both authors, without ignoring its discrepancies. My main focus is Husserl’s 1905 Vorlesungen zur Phänomenologie des Inneren Zeitbewusstseins. While addressing the Brentano-Husserl analysis, I elaborate on the problem of temporal and spatial extension (Raumlichkeit and Zeitlichkeit, respectively) of both consciousness and sound. Such comparison is a key one, since after these two developments, one can notice some theoretical movements concerning the shift of attention from sounds to the unity of consciousness, and how they mirror each other. After examining the controversial claims concerning the temporal and spatial extension of both consciousness and sound, I argue in the concluding paragraphs that while considering the accounts of sound ontology, the Brentano-Husserl analysis would probably endorse a Property View and that this could have interesting consequences for the issue of Sound Individuation. (shrink)

This chapter distinguishes between two kinds of ordinary multisensory experience that go beyond mere co-consciousness of features (e.g., the experience that results from concurrently hearing a sound in the hallway and seeing the cup on the table). In one case, a sensory experience in one modality creates a perceptual demonstrative to whose referent qualities are attributed in another sensory modality. For example, when you hear someone speak, auditory experience attributes audible qualities to a seen event, a person’s speaking motions. The (...) second kind of multisensory experience attributes features experienced in several sensory modalities to one and the same object via a process of amodal perceptual integration, i.e., integration that occurs separately from processing within the individual sensory modalities. Multisensory experiences arising from holding and seeing a tomato or from seeing the Indian curry boil and smelling it are examples of the second kind of multisensory experience. At the end of the chapter we look at synesthesia, a kind of atypical multisensory experience, and argue that one version of this phenomenon may be able to shed light on the neural mechanism underlying amodally integrated multisensory experience. (shrink)

Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: “felt time” and “clock time.” For Langer, musical time is exclusively felt time, and in this sense, music is “time made audible.” However, Langer also postulates what we would call ‘a strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this paper we take issue with the ‘strong suspension thesis’ and its implications and ramifications regarding not (...) only musical meaning, but also the purported metaphysics of music construed as essentially inhering in felt time. We argue that this thesis is overstated and misdirecting insofar as it purports to describe what we experience when we hear music with understanding. We discuss a selection of examples of repetitive formations, from mediaeval music to contemporary music, which show that persistent, motion-inhibiting repetition undermines the listener’s ability to identify order and coherence due to a relative inability to anticipate the next occurrence of a differentiating musical event. We argue that Langer’s one-sided view of musical temporality, which patently relies on the conceptual framework of memory time and the specious present, exemplifies what we propose to call ‘the searchlight model of musical understanding,’ wherein the constant span of illumination of the searchlight (representing the span of the specious present) moves continuously parallel to, and along, its postulated target, i.e., the music heard, as it ‘illuminates’ it. We argue that, in the last analysis, memory time conceptually presupposes the publicly identifiable means of chronometric length. One maintains the ‘strong suspension thesis’ on pain of conceptual confusion. (shrink)

Introduction & Objectives: Norwich’s Entropy Theory of Perception (1975 [1] -present) stands alone. It explains many firing-rate behaviors and psychophysical laws from bare theory. To do so, it demands a unique sort of interaction between receptor and brain, one that Norwich never substantiated. Can it now be confirmed, given the accumulation of empirical sensory neuroscience? Background: Norwich conjoined sensation and a mathematical model of communication, Shannon’s Information Theory, as follows: “In the entropic view of sensation, magnitude of sensation is regarded (...) as a measure of the entropy or uncertainty of the stimulus signal” [2]. “To be uncertain about the outcome of an event, one must first be aware of a set of alternative outcomes” [3]. “The entropy-establishing process begins with the generation of a [internal] sensory signal by the stimulus generator. This is followed by receipt of the [external] stimulus by the sensory receptor, transmission of action potentials by the sensory neurons, and finally recapture of the [response to the internal] signal by the generator” [4]. The latter “recapture” differentiates external from internal stimuli. The hypothetical “stimulus generators” are internal emitters, that generate photons in vision, audible sounds in audition (to Norwich, the spontaneous otoacoustic emissions [SOAEs]), “temperatures in excess of local skin temperature” in skin temperature sensation [4], etc. Method (1): Several decades of empirical sensory physiology literature was scrutinized for internal “stimulus generators”. Results (1): Spontaneous photopigment isomerization (“dark light”) does not involve visible light. SOAEs are electromechanical basilar-membrane artefacts that rarely produce audible tones. The skin’s temperature sensors do not raise skin temperature, etc. Method (2): The putative action of the brain-and-sensory-receptor loop was carefully reexamined. Results (2): The sensory receptor allegedly “perceives”, experiences “awareness”, possesses “memory”, and has a “mind”. But those traits describe the whole human. The receptor, thus anthropomorphized, must therefore contain its own perceptual loop, containing a receptor, containing a perceptual loop, etc. Summary & Conclusions: The Entropy Theory demands sensory awareness of alternatives, through an imagined brain-and-sensory-receptor loop containing internal “stimulus generators”. But (1) no internal “stimulus generators” seem to exist and (2) the loop would be the outermost of an infinite nesting of identical loops. (shrink)

Misogynistic tendencies are not strange, rather this attitude pervades various strata of our existence. They are vocally audible and visibly present within the political, economic, social, cultural and religious spheres of our societies. Misogyny is an extreme hatred against women by men, and women against women. The purview of this paper is to explore misogyny in Christianity, analyze the origin and extent of misogyny within Christianity and how it has affected the position of women within the church. This paper discovered (...) that misogyny in Christianity is traced to its roots, during the period of the early church fathers and that misogyny has affected negatively the ecclesiastical positions assigned to women in most churches. Misogyny has negative implications for Christian ethics which focuses on love, not hatred. The paper adopts the historical and survey methods of data collection and used the qualitative methods to analyze the data collected. One of the recommendations made in this paper is that churches and religious organizations must shun misogynistic attitude as it is against Christian ethics and teachings. The APA style of documentation is applied to this work. -/- . (shrink)

A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. -/- Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating (...) the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music. (shrink)