Results for 'Cyber-fraud in hip hop music'

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  1. Birds of a Feather Flock Together: The Nigerian Cyber Fraudsters (Yahoo Boys) and Hip Hop Artists.Suleman Lazarus - 2018 - Criminology, Criminal Justice, Law and Society 19 (2):63-80.
    This study sets out to examine the ways Nigerian cyber-fraudsters (Yahoo-Boys) are represented in hip-hop music. The empirical basis of this article is lyrics from 18 hip-hop artists, which were subjected to a directed approach to qualitative content analysis and coded based on the moral disengagement mechanisms proposed by Bandura (1999). While results revealed that the ethics of Yahoo-Boys, as expressed by musicians, embody a range of moral disengagement mechanisms, they also shed light on the motives for the (...)
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  2. Establishing the Particularities of Cybercrime in Nigeria: Theoretical and Qualitative Treatments.Suleman Lazarus - 2020 - Dissertation, University of Portsmouth
    This thesis, which is based on six peer-reviewed publications, is a theoretical and qualitative treatment of the ways in which social and contextual factors serve as a resource for understanding the particularities of ‘cybercrime’ that emanates from Nigeria. The thesis illuminates how closer attention to Nigerian society aids the understanding of Nigerian cybercriminals (known as Yahoo Boys), their actions and what constitutes ‘cybercrime’ in a Nigerian context. ‘Cybercrime’ is used in everyday parlance as a simple acronym for all forms of (...)
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  3.  14
    The Influence of Islam on Black Musical Expression and its Re-Contextualization as Hybrid Gnosticism in Hip Hop Culture.Martin A. M. Gansinger - 2021 - Freiburg, New York: Waxmann.
    This chapter aims at pointing out the consistency of Islam as a source for empowerment strategies of the Black population in the United States and the religion’s effective reinterpretation as a sort of contemporary gnostic self-realization in Hip Hop culture. Moreover, the link between hybrid identity constructions of Hip Hop artists that borrow from religious and cultural sources of Islam and corresponding traditions of spiritual realization in mystical Islam and Sufism is demonstrated in the course of the discussion.
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  4. Jay-Z, Phenomenology, & Hip-Hop.Harry Nethery - 2012 - APA Newsletter on Philosophy and the Black Experience 11 (1).
    This essay undertakes a phenomenological inquiry into the ‘experiential structure of hip-hop’ – a structure that hip-hop artist Jay-Z (Shawn Carter) gestures towards in his text Decoded. In this book, Jay-Z argues that hip-hop has a particular power to act as the vehicle for the communication of a specific type of experience, i.e. contradictory experiences, or those which do not seem possible under the principle of non-contradiction. For instance, Tupac Shakur says of his mom that “…even as a crack fiend, (...)
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  5.  15
    What Nigerian Hip-Hop Lyrics Have to Say About the Country’s Yahoo Boys.Suleman Lazarus - 2019 - The Conversation.
    The article is based on lyrics from 2007 to 2017 involving 18 hip-hop artists. All the songs I studied were by male singers apart from one entitled, “Maga no need pay,” which involved seven multiple artists. In all the songs, the glamorization of cybercrime and cybercriminals was one of the most significant themes. The implications are discussed.
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  6.  73
    Righteous Radicals on Heavy Rotation. A Cross-Case Study of the Bobo Shanti Rasta Mansion and its Representation in Jamaican Dancehall/Reggae in Regard to Five Percenter Ideology in US-Hip Hop.Martin A. M. Gansinger - forthcoming
    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 (...)
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  7. Radical Religious Thought in Black Popular Music. Five Percenters and Bobo Shanti in Rap and Reggae.Martin Abdel Matin Gansinger - 2017 - Hamburg, Germany: Anchor.
    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 (...)
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  8. On Intersectionality and Cultural Appropriation: The Case of Postmillennial Black Hipness.Robin James - 2011 - Journal of Black Masculinity 1 (2).
    Feminist, critical race, and postcolonial theories have established that social identities such as race and gender are mutually constitutive—i.e., that they “intersect.” I argue that “cultural appropriation” is never merely the appropriation of culture, but also of gender, sexuality, class, etc. For example, “white hipness” is the appropriation of stereotypical black masculinity by white males. Looking at recent videos from black male hip-hop artists, I develop an account of “postmillennial black hipness.” The inverse of white hipness, this practice involves the (...)
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  9. The Importance of Poetry, Hip-Hop, and Philosophy for an Enlisted Aviator in the USAF (2000-2004) Flying in Support of Operation Enduring Freedom and Operation Iraqi Freedom.Adam M. Croom - 2015 - Journal of Poetry Therapy 28:73-97.
    This special issue of Journal of Poetry Therapy focuses on the use of poetry and other forms of expressive writing to explore the transformative experiences of military veterans, and so in this article I discuss how the use of poetry, hip-hop, and philosophy positively influenced my life while I was serving in the United States Air Force (USAF) from 2000 through 2004. This article briefly reviews my reasons for enlisting and discusses the importance that poetry, hip-hop, and philosophy had for (...)
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  10.  58
    Country Music as a Dual Character Concept.Evan Malone - manuscript
    In this paper, I argue that ‘country’ serves as a dual character concept in the same way that it is has been suggested of punk and hip-hop. On this model, we can make sense of the distinction between ‘punk’ and ‘real punk’ in that the conditions to qualify as punk tend to be descriptive, but an artist and their work must embody the values of punk to qualify as ‘real punk’. That is, authentic country music is country music (...)
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  11. La disparition de la politique : le rap entre Israël et la Palestine, entre Juifs et Arabes.Anna C. Zielinska - 2018 - Mouvements 96 (2018/4):102-110.
    Politics, and in particular the question of the Palestinian-Israeli conflict, is currently dealt with rather through fiction and art, and much less through genuine political actions, is a strong sign of the failure of politics as a positive, voluntaristic political project. Rap /hip hop music, the most naturally political art, does not have the political agenda anymore. The particular history or Israeli rap illustrates this process in a striking way, embodying the recent evolution of the Israeli society. The country (...)
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  12. HIP HOP – Sujeito e(m) movimento.Raphael de Morais Trajano - 2016 - Dissertation, Universidade Federal Fluminense, Brasil
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  13. Just Married: The Synergy Between Feminist Criminology and the Tripartite Cybercrime Framework.Suleman Lazarus - 2019 - International Social Science Journal 69 (231):15-33.
    This article is a theoretical treatment of feminist epistemology of crime, which advocates the centrality of gender as a theoretical starting point for the investigating of digital crimes. It does so by exploring the synergy between the feminist perspectives and the Tripartite Cybercrime Framework (TCF) (which argues that three possible factors motivate cybercrimes – socioeconomic, psychosocial, and geopolitical) to critique mainstream criminology and the meaning of the term “cybercrime”. Additionally, the article examines gender gaps in online harassment, cyber‐bullying, (...)fraud, revenge porn, and cyber‐stalking to demonstrate that who is victimised, why, and to what effect are the critical starting points for the analysis of the connections between gender and crimes. In turn, it uses the lens of intersectionality to acknowledge that, while conceptions of gender and crime interact, they intersect with other categories (e.g., sexuality) to provide additional layers of explanation. To nuance the utilitarian value of the synergy between the TCF and the feminist perspectives, the focus shifts to a recent case study (which compared socioeconomic and psychosocial cybercrimes). The article concludes that, while online and offline lives are inextricably intertwined, the victimisations in psychosocial cybercrimes may be more gendered than in socioeconomic cybercrimes. These contributions align the TCF to the feminist epistemology of crime in their attempt to move gender analysis of digital crimes “from margin to centre”. (shrink)
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  14. Race and the Feminized Popular in Nietzsche and Beyond.Robin James - 2013 - Hypatia 28 (4):749-766.
    I distinguish between the nineteenth- to twentieth-century (modernist) tendency to rehabilitate (white) femininity from the abject popular, and the twentieth- to twenty-first-century (postmodernist) tendency to rehabilitate the popular from abject white femininity. Careful attention to the role of nineteenth-century racial politics in Nietzsche's Gay Science shows that his work uses racial nonwhiteness to counter the supposedly deleterious effects of (white) femininity (passivity, conformity, and so on). This move—using racial nonwhiteness to rescue pop culture from white femininity—is a common twentieth- and (...)
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  15. Soziale Artikulation im US-HipHop. Kommunikationsstruktur einer sozialen Minderheit.Martin Gansinger - 2008 - VDM.
    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 (...)
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  16. Messages in Art and Music: On Route to Understanding Musical Works with Jerrold Levinson.Małgorzata A. Szyszkowska - 2010 - Dialogue and Universalism 20 (3-4):97.
    In his article untitled Messages in Art Jerrold Levinson discusses the idea of a message behind a work of art. He argues that despite certain disclaimers put forward by artists it is „hard to deny that artworks (...) very often do have messages, and far from inexpressible ones”. From given examples it would seem that Levinson assumes that musical work just as other artworks sometimes generate messages and that in order for a work of music to be successful in (...)
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  17.  43
    ISSUES AND CHALLENGES OF CYBER CRIME IN INDIA: AN ETHICAL PERSPECTIVE.Gobinda Bhattacharjee - 2021 - International Journal of Creative Research Thoughts 9 (9):b615-b620.
    The present paper is an attempt to discuss issues and challenges of Cyber Crime in India from an ethical perspective. Ethics is a branch of philosophy which deals with what is considered to be right or wrong. The ethics centers and program devoted to busin age for several re crime’. The advancement ess ethics, legal ethics, bioethics, medical ethics, engineering ethics, and computer ethics have sprung up. Cyber crime is emerging as a serious threat. Computer Technology is one (...)
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  18. “What Has Coltrane to Do With Mozart: The Dynamism and Built-in Flexibility of Music”.Cynthia R. Nielsen - 2009 - Expositions 3:57-71.
    Although contemporary Western culture and criticism has usually valued composition over improvisation and placed the authority of a musical work with the written text rather than the performer, this essay posits these divisions as too facile to articulate the complex dynamics of making music in any genre or form. Rather it insists that music should be understood as pieces that are created with specific intentions by composers but which possess possibilities of interpretation that can only be brought out (...)
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  19.  81
    Music and Language in Social Interaction: Synchrony, Antiphony, and Functional Origins.Nathan Oesch - 2019 - Frontiers in Psychology 10.
    Music and language are universal human abilities with many apparent similarities relating to their acoustics, structure, and frequent use in social situations. We might therefore expect them to be understood and processed similarly, and indeed an emerging body of research suggests that this is the case. But the focus has historically been on the individual, looking at the passive listener or the isolated speaker or performer, even though social interaction is the primary site of use for both domains. Nonetheless, (...)
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  20. Music as Atmosphere. Lines of Becoming in Congregational Worship.Friedlind Riedel - 2015 - Lebenswelt. Aesthetics and Philosophy of Experience 6:80-111.
    In this paper I offer critical attention to the notion of atmosphere in relation to music. By exploring the concept through the case study of the Closed Brethren worship services, I argue that atmosphere may provide analytical tools to explore the ineffable in ecclesial practices. Music, just as atmosphere, commonly occupies a realm of ineffability and undermines notions such as inside and outside, subject and object. For this reason I present music as a means of knowing the (...)
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  21.  92
    In Other Shoes: Music, Metaphor, Empathy, Existence. [REVIEW]Nils-Hennes Stear - 2017 - British Journal of Aesthetics 57 (4):443-447.
    © British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] Other Shoes is a companion to Kendall Walton’s other essay collection, Marvellous Images, published seven years earlier. But careful study reveals considerable coherence; Walton reprises the same motifs throughout, though with different combinations and inflections, the book’s reverse chronology revealing how some of these ideas developed. Moreover, every paper exhibits the same accessible, sometimes (...)
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  22. Four Theories of Inversion in Art and Music.John Dilworth - 2002 - Southern Journal of Philosophy 40 (1):1-19.
    Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works as (...)
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  23. Music as a source of emotion in film.Annabel J. Cohen - 2011 - In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press.
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  24. Melting Musics, Fusing Sounds. Stumpf, Hornbostel and Comparative Musicology in Berlin.R. Martinelli - 2014 - In R. Bod, J. Maat & T. Weststeijn (eds.), The Making of the Humanities. Vol. III: The Modern Humanities. Amsterdam University Press. pp. 391-401.
    The ancient Greeks already used to give ethnic names to their different scales, and observations on differences in music of the various nations always raised the interest of musicians and philosophers. Yet, it was only in the late nineteenth century that “comparative musicology” became an institutional science. An important role in this process was played by Carl Stumpf, a former pupil of Brentano’s who pioneered these researches in Berlin. Stumpf founded the Phonogrammarchiv to collect recordings of folk and extra-European (...)
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  25.  35
    Arts Entrepreneurship Through Strategic Collaboration in Korean Classical Music.Jieun Park & Joanne Bernstein - 2020 - Journal of Arts and Humanities 9 (8).
    Arts Entrepreneurship is a comparatively new concept in arts management however, it is inevitable for the arts, especially classical music to adapt the concept for its survival. This article investigates how arts entrepreneurship is executed through strategic collaboration in three different cases of classical music organizations in Seoul, Korea: Yellow Lounge Seoul, Ensemble Ditto and The New Baroque Company. By providing vivid examples of how to apply arts entrepreneurship in classical music products, it will better help to (...)
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  26.  73
    Multitask Music-Based Therapy Optimization in Aging Neurorehability by Activation of the Informational Cognitive Centers of Consciousness.Florin Gaiseanu - 2020 - Gerontology and Geriatric Studies 6 (3):1-5.
    The rapid increase of the old age people imposes the reconsideration of the rehabilitation techniques and procedures and/or the development of the existing ones, at least from two points of view: the limitation use of the pharmaceutical drugs because of their secondary effects in the debilitated organisms and their avoidance; the high risk of the induced anxiety states, depression or other symptoms as a consequence of the main disease, i.e. the neuro-degenerative or mobility dysfunctions, limiting again the use of such (...)
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  27. Music Policies İn Turkish Single-Party Era: Religious Music Example.Uğur Alkan - 2018 - Tasavvur - Tekirdag Theology Journal 4 (2):452 - 469.
    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 (...)
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  28. Musicing, Materiality, and the Emotional Niche.Joel Krueger - 2015 - Action, Criticism, and Theory for Music Education 14 (3):43-62.
    Building on Elliot and SilvermanÕs (2015) embodied and enactive approach to musicing, I argue for an extended approach: namely, the idea that music can function as an environmental scaffolding supporting the development of various experiences and embodied practices that would otherwise remain inaccessible. I focus especially on the materiality of music. I argue that one of the central ways we use music, as a material resource, is to manipulate social spaceÑand in so doing, manipulate our emotions. Acts (...)
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  29. Enacting Musical Experience.Joel Krueger - 2009 - Journal of Consciousness Studies 16 (2-3):98-123.
    I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we (...)
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  30. Music Practice and Participation for Psychological Well-Being: A Review of How Music Influences Positive Emotion, Engagement, Relationships, Meaning, and Accomplishment.Adam M. Croom - 2015 - Musicae Scientiae: The Journal of the European Society for the Cognitive Sciences of Music 19:44-64.
    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 (...)
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  31. Sideways Music.Ned Markosian - 2019 - Analysis (1):anz039.
    There is a popular theory in the metaphysics of time according to which time is one of four similar dimensions that make up a single manifold that is appropriately called spacetime. One consequence of this thesis is that changing an object’s orientation in the manifold does not change its intrinsic features. In this paper I offer a new argument against this popular theory. I claim that an especially good performance of a particularly beautiful piece of music, when oriented within (...)
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  32. Music as Affective Scaffolding.Joel Krueger - forthcoming - In David Clarke, Ruth Herbert & Eric Clarke (eds.), Music and Consciousness II. Oxford: Oxford University Press.
    For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. I argue that music is a beyond-the-head resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. I focus on music’s capacity to scaffold emotional consciousness, including the self-regulative processes (...)
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  33.  79
    Film About Cape Town is Being Used to Raise Awareness, and to Ask Wider Questions. [REVIEW]Asma Mehan - 2019 - The Conversation (Africa).
    Academics have increasingly used video and other electronic methods to collect data and capture reflections from participants. But, until recently, it’s been less common to use film as way of disseminating the results of research. That’s beginning to change. Film can be a powerful way to share research findings with a broad audience. This is particularly true when academics are combining) the traditions of ethnography, documentary filmmaking, and storytelling. -/- Film and cinema are increasingly being used in environmental humanities to (...)
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  34. Impact of Applying Fraud Detection and Prevention Instruments in Reducing Occupational Fraud: Case Study: Ministry of Health (MOH) in Gaza Strip.Faris M. Abu Mouamer, Youssef M. Abu Amuna, Mohammed K. H. A. L. I. Khalil & Abedallh Aqel - 2020 - International Journal of Academic Accounting, Finance and Management Research (IJAAFMR) 4 (6):35-45.
    The study aimed to identify the effect of applying detection and prevention tools for career fraud in combating and preventing fraud and reducing its risks through an applied study on Palestinian Ministry of Health in Gaza Strip, Palestine. To achieve the objectives of the study, the researchers used the questionnaire as a main tool to collect data, and the descriptive and analytical approach to conducting the study. The study population consisted of (501) supervisory employees working at MOH in (...)
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  35.  98
    Music, Neuroscience, and the Psychology of Well-Being: A Précis.Adam M. Croom - 2012 - Frontiers in Psychology 2:393.
    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 (...)
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  36. Music, Neuroscience, and the Psychology of Wellbeing: A Précis.Adam M. Croom - 2012 - Frontiers in Theoretical and Philosophical Psychology 2 (393):393.
    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 (...)
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  37. In Support of Fraud Trials Without a Jury.Sally Ramage - 2005 - The Criminal Lawyer 156:2-52.
    The United Kingdom's Parliamentary Bill 'Fraud Trials (Without a Jury) 2007', failed. Nevertheless, fraud trials without a jury do take place and there is much evidence to support this.
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  38. Musical Manipulations and the Emotionally Extended Mind.Joel Krueger - 2014 - Empirical Musicology Review 9 (3-4):208-212.
    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.
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  39. Music and Cognitive Extension.Luke Kersten - 2014 - Empirical Musicology Review 9 (3-4):193-202.
    Extended cognition holds that cognitive processes sometimes leak into the world (Dawson, 2013). A recent trend among proponents of extended cognition has been to put pressure on phenomena thought to be safe havens for internalists (Sneddon, 2011; Wilson, 2010; Wilson & Lenart, 2014). This paper attempts to continue this trend by arguing that music perception is an extended phenomenon. It is claimed that because music perception involves the detection of musical invariants within an “acoustic array”, the interaction between (...)
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  40. To Think or Not To Think: The Apparent Paradox of Expert Skill in Music Performance.Andrew Geeves, Doris J. F. McIlwain, John Sutton & Wayne Christensen - 2013 - Educational Philosophy and Theory (6):1-18.
    Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. (...)
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  41. “A Small, Shabby Crystal, yet a Crystal”: A Life of Music in Wittgenstein’s Denkbewegungen.Eran Guter - 2019 - In B. Sieradzka-Baziur, I. Somavilla & C. Hamphries (eds.), Wittgenstein's Denkbewegungen. Diaries 1930-1932/1936-1937: Interdisciplinary Perspectives. Innsbruck, Austria: StudienVerlag. pp. 83-112.
    Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical (...)
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  42. Music, Emotions and the Influence of the Cognitive Sciences.Tom Cochrane - 2010 - Philosophy Compass 5 (11):978-988.
    This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases (...)
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  43.  25
    Music Communicates Affects, Not Basic Emotions – A Constructionist Account of Attribution of Emotional Meanings to Music.Julian Cespedes-Guevara & Tuomas Eerola - 2018 - Frontiers in Psychology 9.
    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 (...)
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  44. Musical Twofoldness.Bence Nanay - 2012 - The Monist 95 (4):607-624.
    The concept of twofoldness plays an important role in understanding the aesthetic appreciation of pictures. My claim is that it also plays an important role in understanding the aesthetic appreciation of musical performances. I argue that when we are aesthetically appreciating the performance of a musical work, we are simultaneously attending to both the features of the performed musical work and the features of the token performance we are listening to. This twofold experience explains a number of salient aspects of (...)
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  45.  25
    Music and Memory in Vernon Lee (Violet Paget) (1856-1935).Marina Trakas - 2019 - Encyclopedia of Concise Concepts by Women Philosophers.
    The relationship between music and memory is mainly developed in Music and Its Lovers (1932), a book where Lee presents interesting psychological and philosophical insights from the analysis of the responses made by 150 people to a questionnaire about the “expressive and emotional powers of music”. In this short encyclopedic entry, I present Lee's analysis of the many different ways in which musical experience depends on memory.
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  46. Musical Meaning in Between: Ineffability, Atmosphere and Asubjectivity in Musical Experience.Tere Vadén & Juha Torvinen - 2014 - Journal of Aesthetics and Phenomenology 1 (2):209-230.
    ABSTRACTIneffability of musical meaning is a frequent theme in music philosophy. However, talk about musical meaning persists and seems to be not only inherently enjoyable and socially acceptable, but also functionally useful. Relying on a phenomenological account of musical meaning combined with a naturalist explanatory attitude, we argue for a novel explanation of how ineffability is a feature of musical meaning and experience and we show why it cannot be remedied by perfecting language or musico-philosophical study.Musical meaning is seen (...)
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  47. Music, Emotion and Metaphor.Nick Zangwill - 2007 - Journal of Aesthetics and Art Criticism 65 (4):391-400.
    We describe music in terms of emotion. How should we understand this? Some say that emotion descriptions should be understood literally. Let us call those views “literalist.” By contrast “nonliteralists” deny this and say that such descriptions are typically metaphorical.1 This issue about the linguistic description of music is connected with a central issue about the na- ture of music. That issue is whether there is any essential connection between music and emotion. According to what we (...)
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  48. Musical Sense-Making and the Concept of Affordance: An Ecosemiotic and Experiential Approach.Mark Reybrouck - 2012 - Biosemiotics 5 (3):391-409.
    This article is interdisciplinary in its claims. Evolving around the ecological concept of affordance, it brings together pragmatics and ecological psychology. Starting from the theoretical writings of Peirce, Dewey and James, the biosemiotic claims of von Uexküll, Gibson’s ecological approach to perception and some empirical evidence from recent neurobiological research, it elaborates on the concepts of experiential and enactive cognition as applied to music. In order to provide an operational description of this approach, it introduces some conceptual tools from (...)
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  49. Nigerian Music and the Black Diaspora in the USA : African Identity, Black Power, and the Free Jazz of the 1960s.Martin A. M. Gansinger & Ayman Kole - 2016 - In Martin A. M. Gansinger & Ayman Kole (eds.), From Tribal to Digital - Effects of Tradition and Modernity on Nigerian Media and Culture. Scholars Press. pp. 15-44.
    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 (...)
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  50. Using the Persona to Express Complex Emotions in Music.Tom Cochrane - 2010 - Music Analysis 29 (1-3):264-275.
    This article defends a persona theory of musical expressivity. After briefly summarising the major arguments for this view, it applies persona theory to the issue of whether music can express complex emotions. The expression of jealousy is then discussed by analysis of two examples from Piazzolla and Janacek.
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