The central aim of this quasi-experimental study was to investigate the efficacy of lyrical and instrumental music in developing the reading comprehension of grade 10 students of Davao City, Philippines using the descriptive statistics and inferential statistics, specifically t-Test significant differences were assessed among groups and scores. The findings revealed that all groups had similar level of reading comprehension at the outset of the experiment. The post experiment revealed that a significant increase of score was evident in the (...) control and experimental group, which utilized instrumental music. On the other hand, the experimental group using lyrical music, had no significant improvement in the reading comprehension scores. Implications for the educational practices and limitations of the study were provided. (shrink)

The central aim of this quasi-experimental study was to investigate the efficacy of lyrical and instrumental music in developing the reading comprehension of grade 10 students of Davao City, Philippines using the descriptive statistics and inferential statistics, specifically t-Test significant differences were assessed among groups and scores. The findings revealed that all groups had similar level of reading comprehension at the outset of the experiment. The post experiment revealed that a significant increase of score was evident in the (...) control and experimental group, which utilized instrumental music. On the other hand, the experimental group using lyrical music, had no significant improvement in the reading comprehension scores. Implications for the educational practices and limitations of the study were provided. (shrink)

In this article, I aim to provide an account of the peculiar reasons that motivate our negative reaction whenever we see musical instruments being mistreated and destroyed. Stephen Davies has suggested that this happens because we seem to treat musical instruments as we treat human beings, at least in some relevant respects. I argue in favour of a different explanation, one that is based on the nature of music as an art form. The main idea behind my account is (...) that musical instruments are not mere tools for the production of art; rather, they are involved in an essential way in artistic appreciation of music. This fact not only grounds our negative reaction to their mistreatment and destruction but also has a normative force that is lacked by the account proposed by Davies. (shrink)

This article aims to explore and analytics about Ethiopian traditional music instrument through indigenous knowledge (kirar, masinko, Begena, kebero and washint/flute). The researcher would have observation and referring the difference documentations. Kirar, and masinko are mostly have purposeful for local music including washint, the others which is Kebero, Begena have use full in the majority time for church purpose. Ethiopia has extended culture, art and indigenous knowledge related to original own music. Their studies have qualitative research design (...) that has descriptive methodology to more exploring the traditional music’s free statement descriptions. Its researcher mainly has providing the descriptive information about the Ethiopian traditional music instrument as analytical finding out. (shrink)

In philosophy of music, formalists argue that pure instrumental music is unable to represent any content without the help of lyrics, titles, or dramatic context. In particular, they deny that music’s use of convention counts as a genuine case of representation because only intrinsic means of representing counts and conventions are extrinsic to the sound structures making up music. In this paper, I argue that convention should count as a way for music to genuinely (...) represent content for two reasons. First, the view that only intrinsic ways of representing counts is too stringent. If use can ground meaning in language, then use might also ground meaning (and representation) in music, too. Second, even if we were to insist on intrinsic features, convention should count as a way for music to genuinely represent because convention is an intrinsic feature of music. Without knowledge of musical systems and encultured listening, music wouldn’t even be recognized as music, so convention is already baked into our listening practices. (shrink)

This paper aims at an analytical explanation of the distinctive nature of music, as it has been formulated in perhaps one of the world's very first works on the subject, namely the ‘Sangeet Ratnakar’ of Pandit Sarangadeva, a 13th century musicologist of India. He, in the first chapter of the work defines music ('sangeet' in Sanskrit and Hindi) as a composite of singing or 'Gita', instrumental music or 'vadan' and dancing or ‘nrittam’. In addition, he also (...) holds singing to be the most important component of music. These two ideas are not only unquestionably acceptable , as the analysis in the paper will show, but give to Indian music , in its difference from western music, its distinctively spiritual character, making it a path to liberation or Moksha (Muktidayakam na tu ranjakam). Sarangadeva's reason, here, is not rational but empirico-inductive. It is that mainly by virtue of its 'gitam’ (singing component), which, like the Yoga system of exercise, needing only one's body as its instrument, music too needing only one’s voice is as self-sufficient and autonomous as the ultimate Reality itself (Swayamev Rajate). In the hierarchy (a distinctively ancient Indian insistence) of arts, singing is the highest and unique because in spite of being heard by the auditory sense, it affects our 'reflective sensibility' and transports us to the virtual world of melodic and rhythmic forms. Forms, as against their particular illustrations, are abstract universals. Ultimate Reality is also a Form-all comprehensive and internally harmonious. However, pure Form, whether melodic or religious or even rational like that of triangularity, is almost impossible to concentrate on. Realizing this practical difficulty, Indian scriptures and the world's first Grammarian-linguist, Acharya Panini, framed a composite sound as the manifestation of the ultimate musical Form. This purely formal-because devoid of all meaning, sound is that of 'om', spelt, in Sanskrit as a conjunction (sandhi) of 'a'+'u'+'m'. For Indian musicologists and musicians, ‘om’ is the perfect manifestation of the Sound-God or ‘Nada-Brahman’ because, 1. Its composite nature resembles God, as a harmony of 'sat', 'chit', and 'ananda'; and 2. The composite sound is self-existent as its all three components-two vowels, i.e. ‘a’, ‘u’, and one consonant i.e. ‘m’, can be and are pronounced just as they originally are, -un-elongated and un-vitiated and therefore pure. This is the reason why every recital of Indian classical vocal music is begun with an elaborate rendering of 'om' as an invocation to Sound-God or ‘Nada-Brahman’. Scholarly and authentic, this ancient Indian approach to music, is undoubtedly the earliest and original. My observation is that its main contentions like Sharang Dev’s insistence that of the three components of music, ‘gitam’ or singing is the highest, have only been translated and never argued for. In this presentation my good intention is to provide much needed rational support for making these key statements in this unparalleled Indian text, indubitable and unquestionable. (shrink)

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 (...) our experience of musical performances, from the importance of instrumentality, to the multimodal character of this experience. (shrink)

In the era of digitalization, people have produced, distributed and listened to music in almost every place and every moment. It has become the most ubiquitous of artworks, having an impact in all the social fields (Bourdieu dixit). As Jacques Attali expressed, “All music, all organization of sounds is therefore an instrument to create or consolidate a community, a totality; it is a link between power and its subjects and, therefore, an attribute of power, whatever it may be”. (...) Digital streaming platforms have democratized music distribution, allowing emergent artists to put their music in people’s ears and minds, but at the same time, music has become a powerful medium for spreading political and cultural perspectives, which create and transform social environments. In this context, there are songs that become iconic elements for social movements; some others try to preserve cultural heritage in a repressive situation; or even Taylor Swift can become a political leader in the electoral context of the United States. This session aims to integrate research works where music is a crucial element in social and political processes, aiming to identify world tendencies and orientations on sociology of music. (shrink)

Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation can individuate musical works, too. I argue here that there can be a further element of musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the ontology (...) of music. Hardcore formalists cannot allow for spatial music. I argue that two other views, which allow a close relationship between sounds and musical works, can allow for works of spatial music. However, their ability to do so turns on issues in the philosophy of sound. I appeal to work in philosophy of sound to show that music is an art not just of hearing, but of sounds. (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)

Ayurveda is the science of living being. With the aim of health and procurement of disease it almost covers all facets of life. It includes health of an individual at physical, mental, spiritual, social level. Ayurvedic classics includes brihatrayee samhita like Charak, Sushruta and Ashtanga Hridaya. A review based study of music (geet, sangeet) was done in these classics to explore whether these classics includes any form of music as therapy or not. Based on review of these classics (...) it was found that music in form of geet (vocal or instrument) has been given in contexts like vajikara(aphrodisiac), vata/pitta prakriti (basic consititutional make up), gandharva sattva, madyapana (intake of alcohol), therapy for rajyakshma (immune deficiency diseases), sanyasa (syncope/coma), jivadan (haemetemesis) etc. various swara have been correlated with their pacifying power of three sharirikadoshas viz. vata, pitta and kapha. Also a relationship between various raga of indian classical music have been said to be based on time of its singing which may be used as a therapy to pacify the dearrangement of prevalent doshas. several articles have shown music as therapy in sleep disorder, psychiatric disorders, schizophrenia, cardiovascular, cancer etc. with this paper a perspective of Ayurveda have been explored in music therapeutics. (shrink)

The success of the early music movement has long raised questions about performing historical works: Should musicians perform on period instruments and try to reconstruct the original style? If a historically “authentic” performance is impossible or undesirable, what should be the goal of the early music movement? I turn to Gadamer to answer these questions by constructing the outlines of a hermeneutics of early music performance. In the first half of the paper, I examine Gadamer’s critique of (...) historical reconstruction and argue that this critique sheds light on mistaken tendencies and misunderstandings within the early music movement, but it does not discredit the movement as such. In the second half of the paper, I attempt to show how Gadamer’s dialogical account of historical consciousness provides a framework for understanding what historically informed performance is seeking to accomplish, as well as its advantage over a Nietzschean approach. (shrink)

Prior studies have observed selective neural responses in the adult human auditory cortex to music and speech that cannot be explained by the differing lower-level acoustic properties of these stimuli. Does infant cortex exhibit similarly selective responses to music and speech shortly after birth? To answer this question, we attempted to collect functional magnetic resonance imaging (fMRI) data from 45 sleeping infants (2.0- to 11.9-weeks-old) while they listened to monophonic instrumental lullabies and infant-directed speech produced by a (...) mother. To match acoustic variation between music and speech sounds we (1) recorded music from instruments that had a similar spectral range as female infant-directed speech, (2) used a novel excitation-matching algorithm to match the cochleagrams of music and speech stimuli, and (3) synthesized “model-matched” stimuli that were matched in spectrotemporal modulation statistics to (yet perceptually distinct from) music or speech. Of the 36 infants we collected usable data from, 19 had significant activations to sounds overall compared to scanner noise. From these infants, we observed a set of voxels in non-primary auditory cortex (NPAC) but not in Heschl’s Gyrus that responded significantly more to music than to each of the other three stimulus types (but not significantly more strongly than to the background scanner noise). In contrast, our planned analyses did not reveal voxels in NPAC that responded more to speech than to model-matched speech, although other unplanned analyses did. These preliminary findings suggest that music selectivity arises within the first month of life. (shrink)

I examine the role that the musical instrument plays in shaping a performer's expressive activity and emotional state. I argue that the historical development of the musical instrument has fluctuated between two key values: that of sharing with other musicians, and that of creatively exploring new possibilities. I introduce 'the mood organ'- a sensor-based computer instrument that automatically turns signals of the wearer's emotional state into expressive music.

In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, (...) nonetheless, certain common characteristics that all musics share in the ordering of successive sounds and silences in movement, pattern, and studied length. And, of course, these sounds and silences must be devised and generated, usually by a person but increasingly by other means, especially electronic. Finally, music has its contexts, the particular occasions when it is produced and heard. Perhaps there is indeed a generic musical art, a common ground where all these disparities come together. (shrink)

Simon Høffding’s book A Phenomenology of Musical Absorption (2019) contributes to a growing field of research focusing on the artist’s and performer’s experience, as significant for philosophical understanding of on the one hand expertise and skill-formation, on the other art and artistic practice. Høffding’s work is based on a qualitative study of the world-famous ensemble The Danish String Quartet, and has two purposes according to the author: first, to answer a question that arises when confronted with expert musicians’ descriptions of (...) their experiences: “Who is playing?” While deeply concentrated – absorbed – during rehearsal or performance, musicians have described the feeling of something else taking over: the body, the fingers, the instrument, the music. What kind of self is present in this experience and what kind of consciousness does the musician have of her own performance and of the musical work that is performed? Second, Høffding presents a phenomenological account of the experiences at issue, that is based on thorough empirical work and analysed with tools from phenomenology and cognitive science. While not mainly concerned with philosophical aesthetics, the musical work itself has an important role to play in answering these two questions. In the book, Høffding shows with wonderful clarity the value of listening to and analysing performers’ depiction of their experience, not only in order to provide a theoretical framework that can account for the particular experiences associated with expertise but also to prompt philosophical understanding of artistic/aesthetic experience, art and creativity. There are, however, certain problems with his account. One is the internal conflict between the idea that absorption can be experienced at any level of music making, and the claim that only professional experts can experience absorption in its stronger form, without giving a clear argument for this differentiation. Another is Høffding’s desire to present his work as a “paradigmatic case”, resulting in a certain lack of generosity vis-à-vis precursors and other scholars, and interpretations that are not always backed up by the interview material. In general, there are a number of unclear references and loose ends, that this reader would have wished to be worked out in detail. This being said, Høffding has uncovered a thought-provoking path that I hope will be continued. (shrink)

What kind of technology is the piano? It was once a distinctly everyday technology. In the bourgeois home of the nineteenth century it became an emblematic figure of gendered social life, its role shifting between visually pleasing piece of furniture, source of light entertainment, and expression of cultured upbringing. It performed this role unobtrusively, acting as a transparent mediator of social relations. To the composer of concert music it was, and sometimes still is, says Samuel Wilson, like the philosopher’s (...) table: “an assumed background on which one writes.” Like other instruments standard to Western art music, the piano was designed to facilitate the production of a consistent and refined timbre. More than most other such instruments, the piano also facilitated a kind of sonic neutrality. With its wide pitch range and smoothing of the percussive attack of its predecessor instruments, the piano presented composers with a technological means of approaching composition from a seemingly objective vantage point. It exemplified, in Heideggerian terms, the instrumentality of the instrument, serving as a mediator between idea and expression that apparently adds no character of its own. -/- This notion of the invisibility, or transparency, of the mediations that musical technologies such as the piano enact is one of my areas of concern here. So too is its inverse: when these mediations become visible or opaque. Transparency has been a topic of significant recent theoretical attention. Stefanos Geroulanos, for example, has detailed how the supposed transparency of intersubjective, epistemological, and social relations was a major point of critique in postwar French thought, where the supposition of transparency was taken to suppress how the world was “complex, layered, structured, filled with heterogeneity” – and, as I will stress here, contingency. The thinkers Geroulanos considers, from Jean-Paul Sartre through to Jean-François Lyotard, can be said to be united in their refusal to invisibilise mediatedness. From a starting point of conceiving of the piano as a technological artifact, and in particular from John Cage’s ‘prepared piano,’ I will explore how a similar concern has appeared in musical contexts, albeit not without the risk of reversion back into a logic of transparency. (shrink)

This paper presents a new version of the democratic argument for the freedom of expression that has the resources to give a plausible reply to the perennial objection—ordinarily considered fatal—that such accounts fail to deliver protections for abstract art, instrumental music, and lots of other deserving nonpolitical speech. The argument begins with the observation that there are different things that a free speech theory might aim to accomplish. It will hope to justify a right to free speech, of (...) course, with a particular scope and shape, but that right might be a moral right, an ordinary legal right, or a specifically constitutional right. The new version of the argument—the refined argument from democracy—aims to justify a specifically constitutional right to political speech, administered by strong-form judicial review. The democracy theorist can accommodate the intuition that abstract art deserves protection by agreeing that we have a moral right, and probably ought to have an ordinary legal right, to produce and view abstract art. She must only insist that abstract art should not be protected by a specifically constitutional right administered by strong-form judicial review. Not because abstract art does not deserve constitutional protection, but because, on this view, whether a particular right ought to be enshrined in the constitution and administered by judicial review is not solely a matter of the importance of the right or the value of the interests it protects. (shrink)

ABSTRACT: Hall (1996) raises the question of the relationship between Aristotle’s Politics and Poetics by claiming that Aristotle had separated drama from its civic origins; various rejoinders to her challenge can be found in Heath (2009) and Jones (2012). In response to this question, I argue that a central connection between these two works is their shared concern about the effects of performance—both in the case of drama and music—either for performers or their audience. Aristotle’s criticisms of “spectacle” (opsis) (...) in tragedy—a problem taken up most recently in Bouchard (2012), Hanink (2011), Konstan (2013), Sifakis (2013), and Wise (2008)—thus parallel his criticisms of slavishness in musical performance in Politics 8. Thus, the problem of Aristotle’s silence about tragedy in his account of education in Politics 8—a problem taken up by Lord (1982) and more recently Ford (2004)—is explainable on the basis of an explicit and central doctrine from the Poetics, namely that a drama can produce the function of tragedy independent of public performance. On my reading, Aristotle’s Politics and Poetics together retain tragedy as a central “cultural” institution for the liberally educated citizen, a view completely consistent with everything Aristotle defends about tragedy in the Poetics. But Politics 8 displaces tragedy as the pre-eminent form of public education and in its place supplies instrumental music—no doubt much to the consternation of Athenian democrats both historically and their kindred spirits in contemporary drama and classics departments. My paper concludes by articulating and speculating about why music eclipses tragedy as the pre-eminent form of liberal arts education in Aristotle’s best regime. (shrink)

Advances a novel theory of how paradoxes evident in Wilhelm Heinrich Wackenroder's essay on instrumental music evoke specific religious dichotomies and that these in turn propose an aesthetic interpretation of autonomous instrumental music concordant with the importance attached to religion in early German Romantic thought.

In this paper, I explore the question of agency in spontaneous action via a phenomenology of musical improvisation, drawing on fieldwork conducted with large con- temporary improvising ensembles. I argue that musical improvisation is a form of ‘participatory sense-making’ in which musical decisions unfold via a feedback pro- cess with the evolving musical situation itself. I describe how musicians’ technical expertise is developed alongside a responsive expertise, and how these capacities complicate the sense in which habitual action can be viewed (...) as pre-conscious or ‘automatic.’ Nevertheless, I shall argue that the self-awareness required for expert improvisation does not amount to highly reflective deliberation, arguing instead that the practice of musical improvisation involves an exercise of practical rationality, akin to what Aristotle called phronēsis. Musical decisions – as an expressive form of sense-making – are guided by feelings of ‘rightness’ that are experienced directly and intuitively, responding to the norms and reasons that are embedded in the instruments, sounds, and practices of a particular (sub)culture. (shrink)

The connection between science and mathematics is often considered necessary and insoluble. Therefore, a relationship between mathematics and humanities or arts is deemed exceptional or sometimes unnatural. Nevertheless, on the basis of historical, ontological and epistemological researches it can be noted that it’s impossible to warrant the immediate identification between mathematics and sciences on a deeper level than the practical one. Given the instrumentality and then the unnecessity of this connection, the relationship between mathematics and not-scientific disciplines is undeniable, even (...) if the mathematics in the explicit formalisms which we know doesn’t appear in them. It’s possible to demonstrate this relationship not only with philosophical argumentations, but also whit empirical verifications, e.g. in the music and in particular in the music of J. S. Bach. Such an epistemological thought finally leads to the question on the possibility of knowledge in the art in comparison to the epistemological characteristics of the Galilean and Post-Galilean science. (shrink)

As the lyrics to the traditional nineteenth century gospel hymn state, one of the goals of many magical and religious practices is to experience ‘a closer walk with Thee,’ coming into the presence of the holy in both figurative and arguably literal terms. One of the many ways to improve this likelihood of achieving the deep and immersive presence of the holy—described by the scholar of comparative religion Rudolf Otto as the “gentle tide, [the] pervading [of] the mind with a (...) tranquil mood” numinous experience—is through the careful use of various sonic elements. To this point, an exploration of physical worship spaces themselves, a review of the means of creating sounds within worship, and a study of the related uses of sonic technology during worship rituals can help to elucidate just how these sonic elements compare in their utilization between ancient magic and more contemporary magical and religious applications. It is my contention that the overall goal of creating an immersive environment for worship and ritual practice has remained a constant from Ancient Greek and Roman times through to the present, while the technology available to achieve this goal (both in the creation of an immersive physical space and in the use of engaging and relatable musical instruments and instrumental styles) has continually progressed. Put another way, the methods in which we might best utilize various sonic elements to achieve the most numinous experience—the ‘how’— have certainly changed over time, but the underlying ‘why’ and the core goal of using sound to increase this sense of a presence with the holy has remained largely unchanged. (shrink)

This paper explores the evolution of consciousness and subjectivity through a biological framework for understanding the universe. It posits that functional patterns in biological systems mirror cosmic mathematical principles, defining our objective reality. Similar to wave and Fibonacci patterns in different physical phenomena, biological patterns are intrinsic to all things and can be quantified using Dedre Gentner’s approach to analogy. For example, Earth’s ocean currents and the melting and freezing of Antarctica resemble the circulatory system and heart, while the production (...) of music from instruments is analogous to ribosomal protein synthesis. Shelves, tables, and chairs function like cytosol by holding objects in space, and a coffee cup mirrors red blood cell distribution. These analogies reveal a universal order rooted in biology’s functional patterns, essential for shaping the emergence and evolution of life. The paper traces the development of consciousness from its rudimentary cellular states to complex human cognition, highlighting the role of biologically-patterned environments in driving evolutionary changes. Organisms that recognized and organized according to these patterns evolved as “pattern recognition engines” crucial for survival—thus, Life (survival) being the primary measure of consciousness. Humans advanced this capacity, gaining cognitive freedom by insulating themselves from environmental constraints, but faced increased subjectivity complexity. Consciousness, while inherently subjective and necessary for cognitive development, evolves in humans to understand objective reality and its biological nature, so to understand and navigate complexities of subjectivity. Ultimately, the paper asserts consciousness is the ability to recognize and adhere to life-sustaining patterns and principles. Successful adherence deems them worthy of continued existence, while failure leads to demise. Parallels with historical concepts like Atman and Brahman in Hinduism suggest ancient recognition of the correspondence between human and universal patterns. This ancient understanding, coupled with modern scientific evidence, reveals the interconnectedness and intrinsic biological nature of reality. (shrink)

This paper explores the evolution of consciousness and subjectivity through a biological framework for understanding the universe. It posits that functional patterns in biological systems mirror cosmic mathematical principles, defining our objective reality. Similar to wave and Fibonacci patterns in different physical phenomena, biological patterns are intrinsic to all things and can be quantified using Dedre Gentner’s approach to analogy. For example, Earth’s ocean currents and the melting and freezing of Antarctica resemble the circulatory system and heart, while the production (...) of music from instruments is analogous to ribosomal protein synthesis. Shelves, tables, and chairs function like cytosol by holding objects in space, and a coffee cup mirrors red blood cell distribution. These analogies reveal a universal order rooted in biology’s functional patterns, essential for shaping the emergence and evolution of life. The paper traces the development of consciousness from its rudimentary cellular states to complex human cognition, highlighting the role of biologically-patterned environments in driving evolutionary changes. Organisms that recognized and organized according to these patterns evolved as “pattern recognition engines” crucial for survival—thus, Life (survival) being the primary measure of consciousness. Humans advanced this capacity, gaining cognitive freedom by insulating themselves from environmental constraints, but faced increased subjectivity complexity. Consciousness, while inherently subjective and necessary for cognitive development, evolves in humans to understand objective reality and its biological nature, so to understand and navigate complexities of subjectivity. Ultimately, the paper asserts consciousness is the ability to recognize and adhere to life-sustaining patterns and principles. Successful adherence deems them worthy of continued existence, while failure leads to demise. Parallels with historical concepts like Atman and Brahman in Hinduism suggest ancient recognition of the correspondence between human and universal patterns. This ancient understanding, coupled with modern scientific evidence, reveals the interconnectedness and intrinsic biological nature of reality. (shrink)

When our smartphones distract us, much more is at stake than a momentary lapse of attention. Our use of smartphones can interfere with the building-blocks of meaningfulness and the actions that shape our self-identity. -/- By analyzing social interactions and evolving experiences, Roholt reveals the mechanisms of smartphone-distraction that impact our meaningful projects and activities. Roholt’s conception of meaning in life draws from a disparate group of philosophers—Susan Wolf, John Dewey, Hubert Dreyfus, Martin Heidegger, and Albert Borgmann. Central to Roholt’s (...) argument are what Borgmann calls focal practices: dinners with friends, running, a college seminar, attending sporting events. As a recurring example, Roholt develops the classification of musical instruments as focal things, contending that musical performance can be fruitfully understood as a focal practice. -/- Through this exploration of what generates meaning in life, Roholt makes us rethink the place we allow smartphones to occupy in the everyday. But he remains cautiously optimistic. This thoughtful, needed interrogation of smartphones shows how we can establish a positive role for technologies within our lives. (shrink)

The mathematical universe hypothesis is a theory that the physical universe is not merely described by mathematics, but is mathematics, specifically a mathematical structure. Our research provides evidence that the mathematical structure of the universe is biological in nature and all systems, processes, and objects within the universe function in harmony with biological patterns. Living organisms are the result of the universe’s biological pattern and are embedded within their physiology the patterns of this biological universe. Therefore physiological patterns in living (...) organisms can be used as models to structurally map analogies from the biological domain to any target domain to reveal and understand the biological nature of the target domain. Our paper explores various analogies, structurally mapping a red blood cell to a cup; proteins produced from ribosomes to music produced from instruments; a beating heart to the melting and freezing of Antartica; cells, tissue, organs and blood, to people, organizations, industries, and money, and; bio-economic concepts in cellular society to socioeconomic concepts in human society. It also discusses how phenomena in cellular mitosis can help explain phenomena in the universe, such as black holes, dark matter, dark energy, and the structure of the universe. Building upon the concept of perennial wisdom, our research has provided evidence that the ideas of a biological universe were expressed across many past cultures and historical periods. The implications of this theory are vast, encompassing fields such as physics, science, philosophy, religion, law, economics, politics, and engineering, thus serving as a unifying theory for all knowledge. Our theory is supported by meta-analysis of scientific, historic, and religious literature, observations and first principles logic. (shrink)

[ https://plus.google.com/108060242686103906748/posts/cwvdB6mK3J6 ] The phenomenal description on own thoughts regard me to describe Coleridge, along with William Wordsworth, was instrumental in initiating a poetic revolution in the early nineteenth century which is known as the Romantic Movement. Coleridge invokes the Divine Spirit that blows upon the wild Harp of Time. Time is like the stringed musical instrument on which the Spirit produces sweet harmonious melodies. Coleridge is perhaps best known for his haunting ballad Rime of Ancient Mariner, the dream-like (...) Kubla Khan and the unfinished Christabel, but he wrote several other smaller poems, quite remarkable for their imaginative power. (Edited with own analysis)…[http://philpapers.org/profile/112741] http://www.academia.edu/18834746/LITERATURE_I_DO-_THE_ROMANTICS_AND_SUBJECTIVITY_SAMUEL_TAYLOR_COLER IDGE. (shrink)

This mixed-method research was conducted to determine the levels of challenges, innovations and interventions in the operationalization of summative assessment in Music, Arts, Physical Education, and Health (MAPEH) of public MAPEH secondary school teachers in the Division of Iloilo for the school year 2021-2022. This study also determined whether significant relationship existed among challenges, innovations and interventions. The participants of this study were the 290 randomly selected public secondary school MAPEH teachers determined using the Slovin’s formula. The data- gathering (...) instruments were the researcher-made Challenges, Innovations and Interventions Questionnaires. Focus-Group Discussion was conducted to gather qualitative data for triangulation with the quantitative data gathered. Mean, frequency, percentage, rank and Standard Deviation were used for descriptive data analysis, while ANOVA and Pearson r were used for inferential data analysis at 0.05 level of significance. The findings of the study revealed that the level of top 10 challenges in the operationalization of summative assessment in MAPEH is “high”. Also, the level of the top 10 innovations in the operationalization of summative assessment in MAPEH is “high”. Generally, the level of top 10 interventions in the operationalization of summative assessment in MAPEH is “high” except for the top 4 interventions, “helped students with setting priorities in terms of answering summative assessment, written works and performance tasks”, “provided rubrics and performance standards to assist the learner in doing the summative assessment both written works and performance tasks”, “established clear, consistent rule which are direct and simple in the written works and performance tasks to allow learners perform the task with ease”, and “encouraged self- expression in different assessment task’s” which level is “very high”. It was also revealed that the interventions among the levels of challenges encountered by the MAPEH teachers in the operationalization of summative assessment varies significantly and there were varied interventions employed to address the challenges. Also, the interventions among the levels of innovations developed by the MAPEH teachers in the operationalization of summative assessment significantly differed. Interventions vary since there are many available innovations. It was also revealed in the study that significantly positive relationships existed among the level of challenges, innovations as independent variables and interventions as dependent variable in the operationalization of the summative assessments. (shrink)

The component structures of two distinct neuropsychological systems are described. "System-Y" depends upon "system-X" which, on the other hand, can operate independently of system-Y. System-X provides a matrix upon which system-Y must operate, and, system-Y is transformed by the operations of system-X. In addition these neuropsychological structures reverberate in political history and in the cosmos. The most fundamental structure in the soul, in society, and in the cosmos, has the form of a conical spiral. It can be described mathematically as (...) an harmonic system and mythologically in terms of the birth, marriage and death of the divine-king. ;System-Y corresponds to the neocortex. System-X corresponds to the region below the cortex including the limbic brain. Many of the essential structures of system-Y are captured by Plato's image of the helmsman: orientation, locomotion, manual control and dexterity, visual guidance, verbal command, intention, and volition. System-X on the other hand has been systematically neglected by Western culture, beginning with Plato. ;The dissertation builds upon Yakovlev's distinction between "teleokinesis," "ectokinesis" and "endokinesis." "Teleokinesis" refers to goal-directed action in external space, and belongs to system-Y. Ectokinesis and endokinesis are components of system-X. "Endokinesis" refers to movements within the body. "Ectokinesis" refers to the emotions, which are expressions of endokinesis. The mechanics of ectokinesis is that of an harmonic or vibrational system, as is the mechanics of a musical instrument. ;Within a trance the structure of system-Y is temporarily altered, such that system-X enters the foreground of awareness. Because ectokinesis is analogous to music cultures inspired by trance experience understand the universe in terms of music. The structure of ectokinesis in a trance is that of a conical spiral. Plato inherited the mystical traditions of the ancient Near East but replaced the spiral of emotions with a spiral of ideas , by understanding the axis of the cone as the paradigmatic dimension, and the angular rotation of the spiral as the syntagmatic dimension, of language. Finally I explain how the mythology and political structure of theocratic society imitated the neuropsychological structures of trance experience. (shrink)

The Prosecutor in Camus’ novel claims to have peered into Meursault’s soul but found nothing human in there. But the nothingness attests to Meursault embodying something like a musical instrument through which the world plays its music. Meursault does not initiate anything that in the presence of standing conditions causes a change in environment—aside from physical needs which are also immensely flexible and dependent on existing circumstances. He himself constitute the standing conditions awaiting external factors to cause any change. (...) Meursault’s radical indifference and acceptance towards the world and authenticity (his speech and his deed are perfectly coordinated) (his thought and his speech are the same except situation where out of consideration for others he keeps silent) indicates that he has no sickness unto death undergoing life or in anticipation of his death. What the prosecutor announces amounts to Meursault’s existence preceding his essence (given his openness to the world despite his acute rationality and understanding of his environment). But if existence precedes essence, the method precedes existence. He roams the world already equipped with a method. ------------ Abstract II: ---------- What is something that it is not a being? The question implicates there be something that it is not a being but that into which beings as a whole in one's existence slipped into in sickness unto death. Meursault brings to consciousness (of the chaplain) the sickness unto death separated from absurdity by a transparent sheet. Something to which he himself was not susceptible out of his own life-affirmative reasoning. (shrink)

Noise reduction is the major issue in the loudspeaker for the application of the musical instruments and related areas. In this paper, a noise disturbance control of a loudspeaker with optimal and robust controllers has been done successfully. The noise of the loudspeaker has been analyzed by simply track a reference cone displacement with the actual cone displacement. Static output feedback and H infinity optimal loop shaping controllers have been used to compare the actual and reference cone displacements by using (...) a sine wave and random cone displacement signals and a promising results have been analyzed. (shrink)

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 (...) twenty-first-century practice. I use Nietzsche to track shifts from classical to neo-liberal methods of appropriating “difference.” Hipness is one form of this neoliberal approach to difference, and it is exemplified by the approach to race, gender, and pop culture in Vincente Minnelli's film The Band Wagon. I expand upon Robert Gooding-Williams's reading of this film, and argue that mid-century white hipness dissociates the popular from femininity and whiteness, and values the popular when performed by white men “acting black.” Hipness instrumentalizes femininity and racial nonwhiteness so that any benefits that might come from them accrue only to white men, and not to the female and male artists of color whose works are appropriated. (shrink)

Підставою для написання статті стало віднайдення Людмилою Посоховою нотного канта з рукопису, який тривалий час вважали втраченим. Унікальність цієї пам’ятки, датованої 1706 роком, полягає у тому, що це єдиний збережений нотний зразок зі шкільних вистав ранньомодерної доби в українських православних навчальних закладах. Решта музичних творів такого типу дійшли до нас без нот, лише з вербальним текстом. Найвірогіднішим автором (авторами) канту був хтось із викладачів або студентів класу риторики. Дослідження нотного рукопису в контексті історії музичної культури Чернігівського колеґіуму дозволяє припустити, що (...) кант виконували у супроводі або одного музичного інструменту (лютні), або цілого інструментального ансамблю. Крім аналізу музично-теоретичних та структурних особливостей твору, у статті наведено відомості про співаків чернігівських архиєпископів, студентів-співаків, про гру студентів на різних музичних інструментах, а також про музичну практику мандрівних гуртів. (shrink)

Music impinges upon the body and the brain and has inductive power, relying on both innate dispositions and acquired mechanisms for coping with the sounds. This process is partly autonomous and partly deliberate, but multiple interrelations between several levels of processing can be shown. There is, further, a tradition in neuroscience that divides the organization of the brain into lower and higher functions. The latter have received a lot of attention in music and brain studies during the last (...) decades. Recent developments in neuroimaging techniques, however, have broadened the field by encompassing the study of both cortical and subcortical processing of the sounds. Much is still to be investigated but some major observations seem already to emerge. The domain of music and emotions is a typical example with a major focus on the pleasure that can be derived from listening to music. Pleasure, however, is not the only emotion that music can induce and the mechanisms behind its elicitation are far from understood. There are also mechanisms related to arousal and activation that are both less differentiated and at the same time more complex than the assumed mechanisms triggering basic emotions. It is tempting, therefore, to bring together contributions from neuroscience studies with a view to cover the possible range of answers to the question of what pleasurable or mood-modifying effects music can have on human beings in real-time listening situations. (shrink)

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 (...) the domain of cybernetics with a major focus on the concept of circularity, which links perception to action in a continuous process of sense-making and interaction with the environment. As such, it is closely related to some pragmatic, biosemiotic and ecosemiotic claims which can be subsumed under the general notion of functional significance. An attempt is made to apply this conceptual framework to the process of musical sense-making which involves the realisation of systemic cognition in the context of epistemic interactions that are grounded in our biology and possibilities for adaptive control. Central in this approach is the concept of coping with the environment, or, in musical terms, to perceive the sounding music in terms of what it affords for the consummation of musical behaviour. (shrink)

Worldviews are windows to the world. They can be static in referring to visual connotations as suggested by their name, but they can hold a dynamic and genetic view as well. As such, they imply a fundamental cognitive orientation, involving selection, interpretation and interaction with the world. What matters, in this view, is a kind of sense-making or semiotization of the world. -/- The semiotization of the “sonic world”, accordingly, can be approached from different epistemological positions: is music reducible (...) to symbolic labels that function as names, or is it only music when it sounds? And is music to be considered as an artifact that is out there or as something that must be listened to in order to make sense? Rather than joining these discussions, I propose to broaden the focus and to embrace psychological claims as well. Though psychology is not commonly considered as semiotics’ companion theory of truth, there are points of convergence with respect to the hierarchical arrangement of epistemic interactions with the sounds: there is a lower level processing of sensory input (sensation), a somewhat higher level (perception) which involves a first level of sense-making—mostly at a preverbal level—, and a higher level of sense-making which is commonly labeled as cognition. -/- In what follows I will argue for a cumulative model with lower levels not being substituted by higher ones, but with higher levels being superposed on them. Music, in fact, is a sounding art with the richness of it sonorous unfolding as one of its major characteristics. Music processing, therefore, should keep step with the music as it unfolds over time, in a dynamic tension that does justice to the level of sensation as well as to the listener’s continuous epistemic interactions with the sounds. (shrink)

In this article, we consider music and noise in terms of vibrational and transferable energy as well as from the evolutionary significance of the hearing system of Homo sapiens. Music and sound impinge upon our body and our mind and we can react to both either positively or negatively. Much depends, in this regard, on the frequency spectrum and the level of the sound stimuli, which may sometimes make it possible to set music apart from noise. There (...) are, however, two levels of description: the physical-acoustic description of the sound and the subjective-psychological reactions by the listeners. Starting from a vibrational approach to sound and music, we first investigate how sound may activate the sense of touch and the vestibular system of the inner ear besides the sense of hearing. We then touch upon distinct issues such as the relation between low-frequency sounds and annoyance, the harmful effect of loud sound and noise, the direct effects of overstimulation with sound, the indirect effects of unwanted sounds as related to auditory neurology, and the widespread phenomenon of liking loud sound and music, both from the point of view of behavioral and psychological aspects. (shrink)

This article argues for an epistemology of music, stating that dealing with music can be considered as a process of knowledge acquisition. What really matters is not the representation of an ontological musical reality, but the generation of music knowledge as a tool for adaptation to the sonic world. Three major positions are brought together: the epistemological claims of Jean Piaget, the biological methodology of Jakob von Uexküll, and the constructivistic conceptions of Ernst von Glasersfeld, each ingstress (...) the role of the music user rather than the music. Dealing with music, in this view, is not a matter of representation, but a process of semiotization of the sonorous environment as the outcome of interactions with the sound. Hence the role of enactive cognition and perceptual-motor interaction with the sonic environment. What is considered a central issue is the way how listeners as subjects experience their own phenomenal world or Umwelt, and how they can make sense out of their sonic environment. Umwelt-research, therefore, is highly relevant for music education in stressing the role of the listener and his/her listening strategies. (shrink)

Some hold that musical works are fusions of, or coincide with, their performances. But if performances contain wrong notes, won't works inherit that property? We say ‘no’.

Music is a universal human activity. Its evolution and its value as a cognitive resource are starting to come into focus. This chapter endeavors to give readers a clearer sense of the adaptive aspects of music, as well as the underlying cognitive and neural structures. Special attention is given to the important emotional dimensions of music, and an evolutionary argument is made for thinking of music as a prelinguistic embodied form of cognition—a form that is still (...) available to us as contemporary music creators and consumers. (shrink)

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.

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 (...) constitutive of emotional consciousness. In developing this idea, I consider the ‘material’ and ‘worldmaking’ character music, and I apply these considerations to two case studies: music as a tool for religious worship, and music as a weapon for torture. (shrink)

This paper argues that instrumental rationality is more permissive than expected utility theory. The most compelling instrumentalist argument in favour of separability, its core requirement, is that agents with non-separable preferences end up badly off by their own lights in some dynamic choice problems. I argue that once we focus on the question of whether agents’ attitudes to uncertain prospects help define their ends in their own right, or instead only assign instrumental value in virtue of the outcomes (...) they may lead to, we see that the argument must fail. Either attitudes to prospects assign non-instrumental value in their own right, in which case we cannot establish the irrationality of the dynamic choice behaviour of agents with non-separable preferences. Or they don’t, in which case agents with non-separable preferences can avoid the problematic choice behaviour without adopting separable preferences. (shrink)

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 (...) atmosphere. The first part of this paper points to the limits of an understanding of atmosphere as a constellation of things, as proposed by Gernot Böhme. In contrast to this, Hermann Schmitz conceptualises atmosphere as half-thing which suggests movement. Drawing on this, I propose to methodologically approach atmospheres as movements. Consequently, in the second part of this paper I closely analyse two motions as they cohere in Closed Brethren worship services: first, becoming (Deleuze and Guattari), a movement on the level of the individual worshiper; secondly, territorialisation (Deleuze and Guattari), a movement of the atmosphere towards its solidification. Here music as atmosphere is not a system of moral signification but a generative power affording intimate processes of divine encounter, whilst producing affective denominational difference. (shrink)

The discourse concerning musical expression hinges on a fundamental analogy between music and language. While the extant literature commonly compares music to language, this essay takes the reverse direction, following Wittgenstein’s approach. The discussion contrasts the theoretical underpinnings of the “music as language” simile with those of the “language as music” simile. The emphasis on characterization, performance, mutual tuning-in relationships, the interaction between language and music, and the open-ended effort to reorient ourselves as we draw (...) in significance challenges the “informing paradigm” that has been paramount across contemporary philosophical theories of musical expression. One of the most promising philosophical avenues that emerges as we move beyond the “informing paradigm” is recognizing the inseparable relationship between musical expression and our power to shape our own language. (shrink)

Epistemic instrumentalists think that epistemic normativity is just a special kind of instrumental normativity. According to them, you have epistemic reason to believe a proposition insofar as doing so is conducive to certain epistemic goals or aims—say, to believe what is true and avoid believing what is false. Perhaps the most prominent challenge for instrumentalists in recent years has been to explain, or explain away, why one’s epistemic reasons often do not seem to depend on one’s aims. This challenge (...) can arguably be met. But a different challenge looms: instrumental reasons in the practical domain have various properties that epistemic reasons do not seem to share. In this chapter, we offer a way for epistemic instrumentalists to overcome this challenge. Our main thesis takes the form of a conditional: if we accept an independently plausible transmission principle of instrumental normativity, we can maintain that epistemic reasons in fact do share the relevant properties of practical instrumental reasons. In addition, we can explain why epistemic reasons seem to lack these properties in the first place: some properties of epistemic reasons are elusive, or easy to overlook, because we tend to think and talk about epistemic reasons in an ‘elliptical’ manner. (shrink)

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 (...) the auditory system and the musical invariants can be characterized as an extended computational cognitive system. In articulating this view, the work of J. J. Gibson (1966, 1986) and Robert Wilson (1994, 1995, 2004) is drawn on. The view is defended from several objections and its implications outlined. The paper concludes with a comparison to Krueger’s (2014) view of the “musically extended emotional mind”. (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)

Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could (...) cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)