Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies (...) has developed canonic scholarship, and the citation tendencies present within scholarship on both Western and non-Western popular musics; 3) the motivations for two scholarly groups, Dancecult and ASARP, to breakaway from popular music studies; 4) the forms of music analysis and the kinds of musical material commonly employed within popular music studies. I suggest that the field would greatly benefit from a true engagement with anthropological theories and methods, and that the “chaotic conceptualization” of musical structuration and the critical discourse would likewise benefit from an attention to recorded sound and production aesthetics. (shrink)

It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in (...) court as a central case of this injustice. In section 2, we distinguish art-interpretive injustice from other categories already discussed in recent literature. In section 3, we discuss the relationship between genre discourse and identity prejudice. The case for recognizing the category of art-interpretive injustice is that it allows one to recognize a class of harms as being importantly related in ways that one would otherwise overlook. (shrink)

While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some (...) of its own limitations and unasked questions. This essay addresses the paucity of work in feminist philosophy and popular music by applying insights from other areas of feminist aesthetics to questions of popular music, and thereby using feminist aesthetics – specifically, Julia Kristea’s notion of female genius and the genius spectator – to critique itself. (shrink)

For a long time, popular music has been presented as a field of loisir, devoid of artistic value, social expression of barbaric subcultures and product of a cultural industry aimed at mass distraction. In this perspective, the criticism of Theodor W. Adorno is crucial and, even today, his theses – on the aesthetic inferiority of popular music compared to the “cultivated” music and on the deplorable socio-cultural effects of its diffusion – are still a shared (...) judgment. Even for this reason, they deserve attention. After showing, we will focus on the critics about Adorno’s Theory by the most recent and important scholars. (shrink)

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 or calculated marketing?Apart from providing a possible answer to this question, the historical shift of Bobo adherents from shunned extremists to firmly anchored personifications of authenticity in mainstream Rastafarian culture is being emphasized. A multi-layered comparative case study attempts to shed light on the re-contextualization of language as well as expressed dogmatic perceptions and symbolism, attitude towards other religious groups and aspects of ethnic discrimination. Further analysis includes the visibility of artists and their references to practical and moral issues directly derived from two obscure ideologies that managed to conquer airwaves and concert halls. (shrink)

Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the (...) music’ and, on the other, groove is the psychological feeling (induced by music) of wanting to move one’s body. Further, I argue that recent work in music psychology shows that these two concepts do not converge on a unified set of musical features. Finally, I also argue that these two concepts play different functional roles in the appreciative practices of jazz and popular music. This should cause us to further consider the mediating role genre plays for aesthetic concepts and provides us with reason for adopting a more communitarian approach to aesthetics which is attentive to the ways in which aesthetic discourse serves the practices of different audiences. (shrink)

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 the manifold in the normal way, adds to the intrinsic value of the world, but that if the same performance is turned sideways within the manifold, so that it involves a number of different notes spread out in space and all occurring at the same time, then it does not add the same intrinsic value to the world. (shrink)

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

This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of mass consumer but also the ghostly time-space of music in the broadcast world. A brief allusion (...) to Rilke complements a similarly brief reference to Jankelevitch’s “ineffable.”. (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)

Using Foucault’s concept of governmentality vis-à-vis Appadurai’s “global ethnoscapes” as frames, I argue for a techno-cultural dimension which brought forth the phenomenon of the “dancing inmates,” an argument against the charge of Filipino colonial mimicry of a Hollywood popular entertainment. Albeit the inmates’ dance routines indeed depict Foucault’s “docile bodies” in his analysis of the modern prison, as pointed out by critics, I am inclined to show how the internet mediation through social media networks awakened a culturally imbibed dance (...) and musical character trait vis-à-vis the jolly cultural disposition of Filipinos. Thus, I view these characteristics as existential responses, hence, ‘creative resilience,’ to the inhuman incarcerating conditions of the prison life through using the art of dance with the aid of media technology. I argue on the role of the internet as the prisoners’ avenue to the outside world that was strategically deprived of them as a form of punishment, and the role of the internet as their last frontier to freedom and to realize their human potentials. (shrink)

This essay investigates the tensions between traditional music and its modern codification as intellectual property. It will begin by considering the myths concerning the divine source of music. In traditional music and in folk music, music is closely connected to religious ritual. In these rituals the source of the music is recognized and attributed to certain deities. For instance, in Thai traditional music, the Wai Khru ceremony venerates the Duriyathep or devatas drawn from (...) Indian mythology: Phra Visawakarm, Phra Panjasinghkorn, and Phra Parakhonthap (Narot). Much of modern and contemporary music has long been disengaged from ritual and its traditional forms of transmission. Especially since the nineteenth century with the growth of popularity of music printing, it has been subject to copyright law. With these restrictions in transmission, the more fluid routes of transmission have become broken and the ritualistic and religious identifications have been transferred to the cult of performers, to legal codification, to the control of corporations, and the construction of new mythologies through marketing. This essay will use Walter Benjamin’s reflections on the loss of “aura” in the reproduced work of art to try to understand the consequences of this transition in the function of music. And it will consider the situation in Thailand where traditional music and mythology stands side by side with marketed music, and traditional performance stands side by side with commercial performance. It will demonstrate that these conflicts cannot be resolved. But it is precisely in the appreciation and preservation of these conflicts, that traditional culture can itself be recognized and preserved. (shrink)

In contrast to film, theater, and literature, audiences typically sing along with popular songs. This can encourage a first-person mode of engagement with the narrative content. Unlike mere spectators, listeners sometimes imagine acting out the content when it is recited in the first-person. This is a common mode of engaging with popular music. And it can be uniquely morally problematic. It is problematic when it involves the enjoyment of imaginatively doing evil. I defend a Moorean view on (...) the issue: It is wrong to enjoy evil whether real or merely fiction. I develop my position through an examination of the controversially song "Mind of a Lunatic" (1990) by the Houston based rap group Geto Boys. (shrink)

Cover songs are a familiar feature of contemporary popular music. Musicians describe their own performances as covers, and audiences use the category to organize their listening and appreciation. However, until now philosophers have not had much to say about them. This book explores how to think about covers, appreciating covers, and the metaphysics of covers and songs. Along the way, it explores a range of issues raised by covers, from the question of what precisely constitutes a cover, to (...) the history and taxonomy of the category, the various relationships that hold between songs, performances, and tracks, and the appreciation and evaluation of covers. (shrink)

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 Nigerian (...) cybercriminals' actions. Further analysis revealed additional findings: “glamorization/de-glamorization of cyber-fraud” and “sex-roles-and-cultures”. Having operated within the constraint of what is currently available (a small sample size), this article has drawn attention to the notion that Yahoo-Boys and some musicians may be “birds of a feather.” Secondly, it has exposed a “hunter-and-antelope-relationship” between Yahoo-Boys and their victims. Thirdly, it has also highlighted that some ethos of law-abiding citizens is central to Yahoo-Boys’ moral enterprise. Yahoo-Boys, therefore, represent reflections of society. Arguably, given that Yahoo-Boys and singers are connected, and the oratory messages of singers may attract more followers than questioners, this study illuminates the cultural dimensions of cyber-fraud that emanate from Nigeria. In particular, insights from this study suggest that cyber-fraud researchers might look beyond traditional data sources (e.g., cyber-fraud statistics) for the empirical traces of “culture in action” that render fraudulently practices acceptable career paths for some Nigerian youths. (shrink)

The chapter deals with the contrast between defining aspects of religious rigidity, a socio-historically derived counter-narrative, and anti-consumerism in Rastafarian philosophy and culture on one hand and the universal message and commercial success of the music on the other. After discussing the status of the genre as part of Jamaican national culture, the inherent socio-political claim of Reggae and Rastafarian culture are put in context with the conflicting claims of superiority and non-partiality that can frequently be found in the (...) music. Along the lines of religious doctrines in Rastafarian culture and the attempted spiritual transcendence of racism the chapter closes with an exploration of the genre's signature tropes of social justice and anti-materialism, also considering the less strictly defined identity-constructions of recent artists linked to the Reggae Revival movement. "Martin A. M. Gansinger's study of Reggae and class employs Rastafarianism as a key ingredient of both concepts. Gansinger contends that Rastafarianism offers a "spirituality-based consciousness" that lends itself to an egalitarian-driven social consciousness. Reggae's strong social, political and culture capital as a philosophy of liberation owes much to Rastafarianism, which, for all its contradictions, embodied in categories such as the "righteous" and the "wicked", as well as its segregationalist and patriarchal past, offers a means through which the music advances a socially transformative spirituality that may play a part in the rediscovery of a truly social consciousness." (Ian Peddie, Introduction to The Bloomsbury Handbook of Popular Music and Social Class). (shrink)

In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does (...) his integral symphonic work of art (‘Gesamtkunstwerk’) include or rather exclude chamber music? (shrink)

Abstract: The Spotify Status Dataset is a valuable resource that provides real-time insights into the operational status and performance of Spotify, a popular music streaming platform. This dataset contains a wide array of information related to server uptime, user activity, service disruptions, and more, serving as a critical tool for both Spotify's internal monitoring and the broader data analysis community. As digital services like Spotify continue to play a central role in music consumption, understanding the platform's status (...) becomes crucial for ensuring a seamless user experience. This dataset offers numerous research and analysis opportunities, whether you're interested in exploring service availability trends or investigating user behavior patterns during service disruptions. This study highlights the significance of the Spotify Status Dataset, its potential applications, and the valuable insights it can offer to various stakeholders, from Spotify engineers working to enhance service reliability to researchers studying the effects of downtime on user engagement. It invites readers on a journey through this dataset to uncover the secrets of Spotify's operational status and its impact on music enthusiasts worldwide. (shrink)

This essay develops a concept of curiotization, through which people are reduced to a curio for the fascination of others. I argue that trans people as they have appeared in media, philosophy, and narratives of history are curiotized as forever fascinating, new, titillating, and controversial. In contrast to the narrative of momentous trans progress in the mid-2010s, I point out that frameworks such as the "Transgender Tipping Point" worked to position its "trans moment" as unprecedented and always on the threshold (...) of arrival. To work through a specific example, I point to decades of renewed fascination over trans women being capable of breastfeeding and the long history of trans fascination in popular music. I conclude by emphasizing the obscured world-historical presence of transsexuality as it coincides with the history of pharmaceuticals, hormone technologies, and birth control. In contrast to a "goldfish memory optics" through which trans people become eternally new, fascinating, and debatable, I stress the importance of restoring the complexity of "trans" and its histories back into an understanding of the present. (shrink)

According to Greimas, the semiotic square is far more than a heuristic for semantic and literary analysis. It represents the generative “deep structure” of human culture and cognition which “define the fundamental mode of existence of an individual or of a society, and subsequently the conditions of existence of semiotic objects” (Greimas & Rastier 1968: 48). The potential truth of this hypothesis, much less the conditions and implications of taking it seriously (as a truth claim), have received little attention in (...) the literature. In response, this paper traces the history and development of the logical square of opposition from Aristotle to Greimas and beyond, to propose that the relations modelled in these diagrams are embodied relations rooted in gestalt memories of kinesthesia and proprioception from which we derive basic structural awareness of opposition and contrast such as verticality, bilaterality, transversality, markedness and analogy. To make this argument, the paper draws on findings in the phenomenology of movement (Sheets-Johnstone 2011a, 2011b, 2012, Pelkey 2014), recent developments in the analysis of logical opposition (Beziau & Payette 2008), recent scholarship in (post)Greimasian semiotics (Corso 2014, Broden 2000) and prescient insights from Greimas himself (esp. 1968, 1984). The argument of the paper is further supported through a visual and textual content analysis of a popular music video, both to highlight relationships between the semiotic square and mundane cultural ideologies and to show how these relationships might be traced to the marked symmetries of bodily movement. In addition to illustrating the enduring relevance of Greimasean thought, the paper further illustrates the neglected relevance that embodied chiasmus holds for developments in anthropology, linguistics and the other cognitive sciences. (shrink)

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 (...) on Critical Discourse Analysis as well as ethnographic research has been conducted to determine the degree and direction of Bobo Shanti-representations in Jamaican Dancehall-Reggae as compared to Five Percenter Rap in the US, focusing on visual representations, declared affiliations as well as claims of moral superiority and gender roles in reference to doctrinal sources. -/- . (shrink)

More than thirty-five years after its first release in 1971, Don McLean’s “American Pie” still resonates deeply with music listeners and consumers of popular culture. In a 2001 public poll sponsored by the National Endowment for the Arts and the Recording Industry Association of America, McLean’s eight-and-a-half-minute masterpiece was ranked number 5 among the 365 “most memorable” songs of the twentieth century. In 2002, the song was voted into the Grammy Hall of Fame. In 1997, Garth brooks performed (...) “American Pie” at a concert in Central Park, and in 2000, pop icon Madonna performed her own version of “American Pie” on the soundtrack of her movie The Next Best Thing. In 1999, American Pie became the title of a popular – and irreverently comical – coming-of-age movie starring Jason Biggs (the movie American Pie was followed by American Pie 2 in 2001, American Wedding in 2003, and American Pie Present – Band Camp in 2005). Like the movie to which it lent its name, the song “American Pie” presents a coming-of-age narrative; and, also like the movie, the song appealed strongly and immediately to its contemporary audience. Three months after its release in November of 1971, the song reached the number one slot on the charts in January of 1972, and it remained in the Top 40 for a total of seventeen weeks (longer than any other single during the year of 1972). Unlike the movie, however, the song “American Pie” is highly nuanced and sophisticated, containing multiple allusions and layers of meaning which challenge and heighten our understanding of rock ’n’ roll music and the possibility of self-reflection and self-critique in popular culture. (shrink)

"The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy objects (...) and the contentiousness of deploying kitsch as a term in these debates. The buzzing activity of the internet provides much of the raw material for his arguments. Through his close reading of both the works themselves and the public response to them, Emmer once more focuses attention on the competing and overlapping attitudes towards kitsch and the way in which it and its semantic cousins remain a viable and valuable resource with which to police the borders that surround the artworld. Ultimately, his contribution further grounds a wider premise operative in this collection--namely, that a simple and rigid dichotomy of kitsch and (high) art does not and indeed cannot capture the elusive and mercurial nature of kitsch." --from the editor's introduction. (shrink)

The Psychosis of Race offers a unique and detailed account of the psychoanalytic significance of race, and the ongoing impact of racism in contemporary society. Moving beyond the well-trodden assertion that race is a social construction, and working against demands that simply call for more representational equality, The Psychosis of Race explores how the delusions, anxieties, and paranoia that frame our race relations can afford new insights into how we see, think, and understand race's pervasive appeal. With examples drawn from (...) politics and popular culture--such as Candyman, Get Out, and the music of Kendrick Lamar--critical attention is given to introducing as well as explicating on several key concepts from Lacanian psychoanalysis and the study of psychosis, including foreclosure, phallus, the Name-of-the-Father, sinthome, and the objet petit a. By elaborating a cultural mode to psychosis and its understanding, an original and critical exposition of the effects of racialization, as well as our ability to discern the very limits of our capacity to think through, or even beyond, the idea of race, is provided. The Psychosis of Race speaks to an emerging area in the study of psychoanalysis and race, and will appeal to scholars and academics across the fields of psychology, sociology, cultural studies, media studies, and the arts and humanities. (shrink)

From artistic performances in the visual arts and in music to motor control in gymnastics, from tool use to chess and language, humans excel in a variety of skills. On the plausible assumption that skillful behavior is a visible manifestation of intelligence, a theory of intelligence—whether human or not—should be informed by a theory of skills. More controversial is the question as to whether, in order to theorize about intelligence, we should study certain skills in particular. My target is (...) the view that only a particular class/kind of skill (i.e., ‘theoretical’, or ‘intellectual’ skills, versus ‘practical’, or ‘embodied’ skills) manifests intelligence, or especially does so. I call this view ‘Intelligence Elitism’. Intelligence Elitism is pervasive in popular culture, in academic culture, as well as in psychometrics. It has, arguably, a long pedigree in philosophy (though explicit arguments for it are rare). But it is a substantive view which, if false, can promote unfairness. In this article, I defend Intelligence Socialism—the claim that intelligent behavior is everywhere skillful behavior is. I go on to isolate the best case for the further Elitist claim that, even if all skillful behavior is intelligent in some modest sense of ‘intelligence’, there is a principled difference in intelligence between theoretical, or intellectual, skills, on one side, and practical, or embodied skills, on the other, and I show it wanting. (shrink)

Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several (...) postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)

Sara Suleri has written recently, in Meatless Days, of being treated as an "otherness machine"-and of being heartily sick of it.20 Perhaps the predicament of the postcolonial intellectual is simply that as intellectuals-a category instituted in black Africa by colonialism-we are, indeed, always at the risk of becoming otherness machines, with the manufacture of alterity as our principal role. Our only distinction in the world of texts to which we are latecomers is that we can mediate it to our fellows. (...) This is especially true when postcolonial meets postmodern; for what the postmodern reader seems to demand of Africa is all too close to what modernism-in the form of the postimpressionists-demanded of it. The role that Africa, like the rest of the Third World, plays for Euro-American postmodernism-like its better-documented significance for modernist art-must be distinguished from the role postmodernism might play in the Third World; what that might be it is, I think, too early to tell. What happens will happen not because we pronounce on the matter in theory, but will happen out of the changing everyday practices of African cultural life.For all the while, in Africa's cultures, there are those who will not see themselves as Other. Despite the overwhelming reality of economic decline; despite unimaginable poverty; despite wars, malnutrition, disease, and political instability, African cultural productivity grows apace: popular literatures, oral narrative and poetry, dance, drama, music, and visual art all thrive. The contemporary cultural production of many African societies, and the many traditions whose evidences so vigorously remain, is an antidote to the dark vision of the postcolonial novelist. 20. Sara Suleri, Meatless Days , p. 105. Kwame Anthony Appiah, professor of philosophy and literature at Duke University, is the author of a number of books, including For Truth in Semantics , Necessary Questions , and In My Father's House , a collection of essays on African cultural politics. His first novel, Avenging Angel, was published in 1990. (shrink)

Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance novels, or film noir. It should be no surprise then, that philosophers of art have also been interested in genres. Whether they are giving accounts of genres as such or of particular genres, genre talk abounds in philosophy as much as it does the popular discourse. As a result, theories of genre proliferate as well. However, in their accounts, philosophers have so far focused on (...) capturing all of the categories of art that we think of as genres and have focused less on ensuring that only the categories we think are genres are captured by those theories. Each of these theories populates the world with far too many genres because they call a wide class of mere categories of art genres. I call this the problem of genre explosion. In this paper, I survey the existing accounts of genre and describe the kinds of considerations they employ in determining whether a work is a work of a given genre. After this, I demonstrate the ways in which the problem of genre explosion arises for all of these theories and discuss some solutions those theories could adopt that will ultimately not work. Finally, I argue that the problem of genre explosion is best solved by adopting a social view of genres, which can capture the difference between genres and mere categories of art. (shrink)

Recent work has explored the extent to which intercollegiate athletics even belong at the university or meet the university’s mission. Just as play seems evident in athletics, it is also present in music, art, and theater. While these programs are popular targets when discussing possible cuts, few question their legitimacy at the university. In this article I argue that the justification for retaining the extracurricular status of intercollegiate sports should be based on their being especially playful. Indeed, on (...) the basis of this argument, I suggest that universities offer even greater and wider access to sport through club and intramural sports. However, while athletics might appear to be more playful, I hold that there is substantially more play present in university music, art, and theater programs than there is in intercollegiate sports. (shrink)

In this essay, I explore a documentary about the curious case of Charlie and his Orchestra. While swing music was outlawed in Nazi Germany as “degenerate,” the Nazi regime created a radio program called “Charlie and his Orchestra” for foreign consumption. The propaganda lay in the changes to the original lyrics of the songs played, making them convey the anti-Semitic and other themes of the Nazi ideology. The review discusses just how good the musicians were, and how popular (...) the program was. (shrink)

Beginning with the role of the Sex Pistols’s “God Save the Queen” in Lee Edelman and J. Jack Halberstam’s debates about queer death and failure, I follow a musical motive from the Pistols track to its reappearance in Atari Teenage Riot’s 1995 “Delete Yourself .” In this song, as in much of ATR’s work from the 1990s, overlapping queer and Afro-diasporic aesthetics condense around the idea of death or “bare life.” ATR’s musical strategies treat this death as a form of (...) de-intensification and divestment— not, as in Edelman or the Pistols, as a form of negation . I will show that ATR’s musical recontextualization of the Pistols’s riff mirrors the political recontextualization of queerness and queer death from negation to disinvestment. Pushing this misprision or sticky interface between cyberpunk, queer, and Afro-diasporic musical aesthetics, I use ATR’s music to consider how queer death might work as a political response to neoliberal demands to invest in “normal” life. I first discuss the traditional concept of death as negation in both the Sex Pistols song "God Save the Queen," and in Lee Edelman and Jack Halberstam’s formulations. I then argue that Atari Teenage Riot's song “Delete Yourself” describes a neoliberal, biopolitical concept of death, death as carefully administered divestment. Finally, I use Deleuze and Guattari’s discussion of drugs, and Ronald Bogue’s Deleuzian reading of death metal to identify and explain how “MIDIjunkies” and “Into the Death” complicate the biopolitical/neoliberal management of death by reworking traditional black/queer critical aesthet- ics. In these songs, ATR undermine biopolitical neoliberalism’s demand to invest in and intensify regular “normal” life: rather than treating death as a nadir of intensity, they intensify it–that is, they go into the death. This strategy of going “into the death” is one possible queer necropolitical response to neoliberalism. (shrink)

"C.E. Emmer’s article addresses the ongoing debates over how to classify and understand kitsch, from the inception of postmodern culture onwards. It is suggested that the lack of clear distinction between fine art and popular culture generates 'approaches to kitsch – what we might call 'deflationary' approaches – that conspire to create the impression that, ultimately, either 'kitsch' should be abandoned as a concept altogether, or we should simply abandon ourselves to enjoying kitschy objects as kitsch.' The author offers (...) critical insight into 'kitschy' items made in response to 9/11 and tries to examine the reception of these products through scrutinizing a selection of remarks posted by the Internet commentators." Editor Justyna Stępień's summary from her introduction to Redefining Kitsch and Camp in Literature and Culture (Newcastle upon Tyne: Cambridge Scholars Publishing, 2014), p. 2. The final pages of the chapter analyze the seemingly sweet landscape paintings of Thomas Kinkade to show the spirit of revenge their Christian coding can conceal. (shrink)

About death, grief, mourning, life after death and immortality. Why should we die like humans to survive as a species. -/- "No one wants to die. Even people who want to go to heaven don't want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life. It is Life's change agent. It clears (...) out the old to make way for the new." (Steve Jobs) -/- CONTENTS: -/- Death - Philosophy of death - Religions - - Animism - - Atheism - - Buddhism - - Christianity - - Hinduism - - Islam - - Jainism - - Jehovah's Witnesses - - Judaism - - Latter-day Saints - - Spiritism - Symbolism - Personification of Death - - Notable personifications - - In mythologies - - - Hindu mythology - - - In Japan - - - Slavic paganism - - - Lithuanian paganism - - In the three monotheistic religions - - - Judaism - - - Christianity - - - In Mexico - - - Islam - Axiochos - - The characters of dialogue - - Dialogue - - Prologue - - Arguments - - Citations - Paradise - - Greco-Roman mythology - - Mesopotamian mythology and influences - - According to Judaism - - According to Christianity - - - According to Catholicism - - - According to Protestantism - - - According to the Church of Jesus Christ of Latter-day Saints - - According to Islam - - According to Hinduism - - According to modern spiritualities - - - According to the esoteric - Hell - - Mesopotamian origins - - According to Christianity - - - Names appearing in the biblical texts - - - Medieval artistic representations - - - Concepts according to Christian movements - - According to Judaism - - According to Islam - - According to Buddhism - - According to Hinduism - - According to modern esotericism - - - According to Aïvanhov - - - According to Allan Kardec - - Philosophy - - - Jewish Kabbalah - - - Sartre - - - Popular wisdom Funerals - The funeral ritual: a rite of passage - Prehistory - Ancient death customs - - The family bereavement - - Mummification - - Sarcophagi - - Funerals - - Ancient Greece - - Ancient Rome - - Celts, Germans and Scandinavians - Religious funeral rites - - Buddhism - - Judaism - Christianity - - Protestantism - - Islam - Funeral rites by continent - - In Africa - - In Europe - The contemporary era - Mourning (Grief) - - Steps - - - Death of a close - - Loss events without mourning value (white factors) - - Duration and manifestations - - Risks - - Colors - Graveyards (Cemeteries) - - First cemeteries - - Cemeteries today - Funerary art - Dolmens - - Types of dolmens - - Function - - Location - Passage graves - Cenotaphs - - Famous cenotaphs - Lanterns of the Dead Afterlife - History - Questions about death and immortality - Testimonials - - Spiritualistic experiences - - Popular literature on the afterlife - - "Memories" and reminiscences - - Early studies of the science of the 19th century and early 20th century - Types of scenarios - Some religious and philosophical concepts - - Afterlife in Buddhism - - Afterlife in Christianity - - According to Hinduism - - According to Islam - - According to Judaism - - According to Mormonism - - According to the ancient philosophies - - According to Spiritism - - According to Native American traditions - - According to Vedism - - According to Esotericism - In science - Near-death experiences - - Clinical death - - NDE frequency - - Effects of depth of NDE on survival - - Near-death experiences and shared-death experience - - - The first contemporary testimonials - - - Experience according to Moody - - - The concept of "shared death" - - - The NDE scales - - The study of Pim van Lommel - - Spiritual and patient point of view - - - Survivalists studies - - - The religious understanding of the phenomenon - - Scientific views - - - Physiological explanation - - - Psychological explanation - Reincarnation - - Religions - - - In Hinduism - - - In Jainism - - - In Buddhism - - - In Judaism - - - In Christianity - - - In Islam - - In contemporary times - - - Esotericism - - - Works of the psychiatrist Ian Stevenson - - - Radical increase in life expectancy and artificial reincarnation - - Criticism - - - Arthur Schopenhauer - - - Ramana Maharshi - - - Rene Guenon - - - Ananda Kentish Coomaraswamy - Metempsychosis - - Theories - - Ideas - Maschalismos Immortality - Immortality of the soul and religious traditions - - Buddhism - - Christianity - - Islam - - Mormonism - Contemporary perception of the immortality of the body - - Observation in the animal kingdom - - Perspectives for mankind - Immortality in science - - Alexis Carrel - - Jean Rostand - - Hayflick limit - - Étienne-Émile Baulieu and DHEA - - Aubrey de Grey - - Professor Skulachev - - Regenerative medicine - - Professor Christopher Jaeger - Eternal Return - - According to the Mesopotamians - - According to Heraclitus and the Stoics - Fountain of Youth - - History of myth and relatives myths - - - In Roman mythology, Germanic, Celtic and Irish - - - In the Middle-East - - - In Spain - - - In the Bible - - The fountain in art and literature - - Painting - - - Literature and cinema - - Persistent of the myth until today - Senescence - - Why do we age? - - Gene regulation - - Cellular senescence Undead - Ghoul - Lich - Mummy - Skeleton - Vampire - Zombie - Other legendary creatures - Creatures specific to a particular universe - Spiritism - - Point out - - Origins of spiritism - - - The traditions through the ages - - - Advent of Christianity in Europe - - - The survival of necromancy - - - The precursors - - - Relations of spiritualism to science - Mediumship - - History - - Skeptical point of view - - Favorable doctor's viewpoint - Ghosts - - Appearance - - Belief in ghosts - - Origin - - - Duality and return dead - - - Ancient roots - - Typology - - - Poltergeists - - - Revenants - - - Ghosts - - - Banshees - - - Apparitions of crisis - - - Phantasms of the living - - - Vision of his own double - - - Ghost armies - - - Ghosts of animals - - - Means of transport - - Science perspective - - - Hallucinations - - - Sleep paralysis - - - Induced ghosts - - - Aches and infrasounds - - - Magnetic fields - Vampires - - Characteristics - - - Vampire transformation - - - Identification - - - Faculties - - Protection against the vampires - - - Precautions at death and burial - - - Apotropaic objects and places - - Destruction of vampires - Zombie - - The concept - - Africa and voodoo - - - West Africa - - - South Africa - - - In Haiti (and the Caribbean) - - - Scientific research - - The "revenants" in the Western imaginary Death in art - Memento mori - - History - - - Antiquity - - - Christianity - - - Mexican syncretism - - Performing arts - - - In painting - - - In literature - - - In movies - - - In video games - - - In Japanese animation - - - In music - The iconography of Weighing of souls (Particular judgment) - - Origin - - Written sources - - Weighing in Romanesque art - - Weighing in Gothic art - - Weighing in the late Middle Ages: to a new iconography - - Weighing of souls or actions? - Poems - - Charlotte Brontë, “On the Death of Anne Brontë” - - Edgar Allan Poe, “Annabel Lee” - - Edna St. Vincent Millay, “And you as well must die” - - Emily Dickinson, “Because I could not stop for Death” - - Emily Dickinson, “If I Should Die” - - Lord Byron, “Epitaph to a Dog” - - Pablo Neruda, “Only Death” - - Stephen Crane, “God Lay Dead in Heaven” - - W. B. Yeats, “He Wishes His Beloved Were Dead” - - Rainer Maria Rilke, “Death” - Paintings - - The Three Dead Kings - - The Death of Nelson - - Beata Beatrix - Sculptures - - The Kiss of Death - - Background - - Imagery - - Angel of Grief - - Fallen Astronaut - Quotes References About the author - Nicolae Sfetcu - - By the same author - - Contact Publishing House - MultiMedia Publishing -/- DOI: 10.58679/TW44411. (shrink)

The aim of this book is to promote understanding and enjoyment of the arts. With this aim in mind, Lyas introduces the key issues of philosophical aesthetics through examples drawn from high and popular culture, and from a variety of art forms, from music and painting to literature and poetry. The book is pitched as a springboard into undergraduate courses in aesthetics and as an introduction to philosophical aesthetics for the general reader. It is refreshing to read a (...) book on aesthetics written by someone for whom problems in aesthetics are more than just grist for the academic mill. That this is the case shows not only in his choice of examples but also in the perspective he brings to them. Lyas argues, for example, that one must feel the merit of the work for oneself; rather then simply, as he puts it, assuming 'that certain things are worth studying ("in the canon" as they put it)' and then performing 'various classificatory dances round them' (p.75). The question for appreciation, he reminds us, is why those things in the canon deserve to be there. According to Lyas, teaching aesthetics is not simply a matter of imparting a body of knowledge to the student. Instead, the teacher's role is to develop capacities in the student for an appreciative experiencing (p.131). (shrink)

ABSTRACT: A report on the pioneering of a new pedagogy designed to challenge students to use and improve their memory, increase their awareness of logical fallacies and tacitly embedded contradiction(s) and sensitize them to the deeply symbolic nature of thought in all its expressions (math, logos, music, picture and motor skills), as created, by the author, from in situ research at a senior level (ESL) course in Storytelling at one of East Asia’s premiere second languages university, and from teaching (...) children in several university summer programs. -/- As a Visiting Professor of Foreign Languages, I recently had a glorious opportunity to innovate curriculum and teaching techniques in an East Asian university classroom. Under the auspices of teaching senior level thematic courses in English as a Foreign Language, or more specifically, “storytelling,” I was blessed with the opportunity to innovate both on the level of curriculum and pedagogy. -/- But let me backtrack to set up my story from the start. All of this began in a children’s ESL class at a private language institute where I was given some newly formed intermediate level English classes for middle school students on a new campus that had yet to form a library. While waiting for my standard textbooks to arrive I began innovating with one of my own childrens’ stories titled The Tale of the Purple People Eater (a three page mythic story written in the late 90s. Please see appendix). In working with this story, because I envisioned presenting it orally (from memory) at first as a way to introduce students to memory arts exercises, I was compelled to read it over many times, which, to my surprise revealed a troubling feature: it was riddled with contradictions in every paragraph. At any rate, with the middle school aged students I only touched on this feature very briefly and focused more on language acquisition exercises. The tale nevertheless impressed upon me this bizarre aspect of language where a story can appear naturally cogent on the surface, but can also come apart at the seems if taken “literally.” Hence, later while teaching Storytelling in university with a rather dry textbook, I was invited to supplement the class with exercises of my own. Here I was curious to try work shopping the ‘Tale of The Purple People Eater’ with young adults. This involved three stages: 1) Memory work — or engaging with the unpublished story orally; 2) Exploring the contradictory nature of language and thought; 3) Probing the “deeply-symbolic” nature of meaning. -/- Of course, all of these levels have a long history of precedence in our civilization. Memory arts — though defunct now — had been highly developed in the ancient world, not least among bards who performed oral recitations from memory of the entire Illiad and Odyssey. Dialectics — now transmuted into the debate for show and prizes — had a deeper epistemological mission to discover truth and achieve enlightenment (i.e. Socrates, Boethius and St-Augustine). And if it could not be done via contradictory-prone rationality, it would do it by re-attaching or re-membering broken meanings via the sym-bol (“throwing together”), as per our lineage of platonic poets who created a world compelling enough to make us ask where Jesus went during his (underworld journey) three days in the crypt? Or, and, on what terrain did Dante travel? -/- Lets look at all three: Memory work can be very simple: it amounts to an oral recitation of the story in class followed by a homework assignment wherein the students are asked to reproduce the story (in writing) from memory. They can then compare ‘notes’ in class and by working in groups attempt to produce one version per group of the story in question. In this way we invite them to engage with ‘live’ stories as did our oral-history ancestors. Likewise, by writing it down (“for the first time”) they are re-living the act of our first bardic writer(s) who wove together a collection of competing versions of a popular legend to produce a standard. Very primal work! If Plato thought that writing meant the end of memory in his time, imagine what smart phones are doing to memory now. Contradictions too are easy to work with. It suffices to project a written version of the teacher’s story on the classroom screen — no note taking! — and let students have ample time to read it over and over, at first to check with their own memorized version, and later to seek out logical contradictions in the prose. Any way to ‘repair’ the story? Does it lose credibility because of contradictions? Can it be real without being true? Can it be true without being real? Do reality (L. res = matter) and truth (Gk. a-leithea = un-forgetting) etymologically speaking, share the same domain? -/- Further, if below the surface-meaning the story falls apart, its apparent mythical meaning immediately is called into question. This is a good time to ask the students to propose a (deeper) interpretation. On the surface, the obvious meaning of the Tale of the Purple People Eater, a world in which a purple ogre predatorily feasted on the purple race of the United Peoples of Benetton (a multi-racial nation representing every “skin colour of the rainbow”), revolves around racism, and indeed everyone save for one, thought the story was about racism. -/- I, the author, had the challenge of discovering the deeper meaning of my own story. Because it was written inspirationally one morning, the way we might record the memory of a dream from the night before in a journal, I also was ignorant of the story’s meaning. As luck would have it, a few days before I was to give my class feedback on their interpretations, a meditation on the color “purple” led to the book “The Color Purple” which I first heard of from a friend who, in my reply to a question about the book she was reading (in 1985), summarized it succinctly in one sentence about a black woman’s sexual awakening and liberation. I quickly got the book from the university library as well as the film which I viewed several times before my next class. -/- To my utter amazement, after reading the Tale of the Purple People Eater in light of the Color Purple and adjusting the meaning of color in the tale from the color of people’s complexion to the “color of people’s souls” (to commensurate with the film) as depicted in their clothing and other accoutrements (e.g. automobiles) as reflective of the “health of their souls” (white for revolt, purple for majesty, etc…) where the enslaved Celie is surrounded by drab lifeless colors in the beginning of the film in contrast to the liberated woman she has become in the end of the story symbolized by the extraordinary intensity of the purple shawl that bedecks her like an African queen, the tale can be considered, in part, as a kind of back story of the inner evolution of the book’s and film’s protagonist. -/- Many other cross-polenised metaphors come to the fore: Hippocrates in the tale is the mail man in the film; St-Yves anti-ageing gel is a metaphor for remaining in “childhood (sexual) slavery”; the Ex-Thrax vaccine is the spiritual laxative in the form of letters from Africa (from Ex-Lax and Thrace, a “wild place”) that eases Celie out of her yoke; the egg-shaped conference table with the pointy end in the tale is the kitchen table in the last meeting where Celie threatens her husband with the pointy end of the knife in the film… -/- Of course, the students could not be expected to decode the meaning of a story of this nature whose collective unconscious connotations the author himself had to go to great lengths to excavate almost like a detective of the subconscious. What was important here was the shared engagement between mind and narrative and how it acted as a vehicle for 1) re-membering, 2) becoming aware that all language is a metaphorical cover and 3) that the deep symbol and fused metaphor are divided not by external time and space but by external reality (in the Latin sense, res) and internal truth (in the Greek sense, aleithea). Myth then, in its highest meaning is a hybrid form (of these two) of narrative. Hence both parts real and true. (shrink)

DOI:10.20850/9781716645440 -/- An amazing exploration of the mind is now possible for everyone. With the Colors of The Sunrise, the first volume of the series The Psychotherapy of Whole: Aesthetics, Philosophy, Humanism, and Cognitive Science the reader has the opportunity to engage with a book that utilizes the methods and structure of self-help, popular science, and expressive therapies books. -/- Science, psychotherapy, philosophy, music, art and digital reality for the first time come together in a book phenomenon and (...) a series designed during 16 years to provide the first A.I Psychotherapy model internationally, focused on a profound study that has been evaluated by leading names from many of the areas analyzed around the world. -/- The book has been based on the background of advanced academic research, lending from the recent and updated investigations in an extraordinary number of areas. These include but are not limited to the disciplines of social sciences, psychiatry, philosophy, expressive art therapies, exact sciences, history, politics, artificial intelligence, and humanities that are presented from a global perspective. -/- Linguistics, neuroscience, anthropology, robotics, physics, and mathematics reconsidered as positive parts of the universal structures. It is explained the manner of uniting the cognition staying in perfect harmony with the today’s knowledge acquired by cognitive science, and the knowledge that traditionally contributes to the flourishing of the human mind through the philosophical approaches. -/- This manner discovered through the cutting-edge clinical and scientific study of the author. As a Licensed Social Worker and Cognitive Scientist, Anthony N. Skarvelakis devoted many years of professional investigation to reach a cognitive metaprogram as a model that expands human thought, giving the solution searched for years regarding the design of the first complete model of A.I Psychotherapy. (shrink)

Denis Byrne’s Surface Collection is a finely written philosophical travelogue, taking the reader on an archaeological tour of South Asia that is also a personal quest and a critique of heritage conservation. Its closely organised structure, reminiscent of baroque music, begins with an investigation of the modes of erasure or preservation of the recent past in South East Asia, shifts to an ironic narrative of futile quests for historical traces, and concludes with reflections on the clash of popular (...) Buddhist relic worship with the values of heritage conservation. Byrne stages the latter conflict as between magical and rationalistic worldviews. Mildly dissenting, this essay suggests that although heritage conservation deploys scientific meanss, it is based on the sacralisation of the past. This motivation brings it closer to magic than to core tenets of Enlightenment, either of the Rational or the Buddhist kind. (shrink)

In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...) complex games can accommodate a continuous rich spectrum of congruent modes of listening, which broaches both the formalist-type and the narrativist-type. We conclude that this sort of oblique reading of Walton’s original theory actually complements and completes Walton’s recent theoretic angle concerning thoughtwriting in music by way of affording it with a suitable conception for a mechanism of appropriation for music. (shrink)

In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, (...) I argue for an alternative model of authenticity in which we take claims about the relative authenticity of country music to be evidence of ‘country’ being a dual character concept in the same way that it has been suggested of punk rock and hip-hop. Authentic country music is country music that embodies the core value commitments of the genre. These values form the basis of country artists’ and audiences’ practical identities. Part of country music’s aesthetic practice is that audiences reconnect with, reify, and revise this common practical identity through identification with artists and works that manifest these values. We should then think of authenticity discourse within country music as a kind of game within the genre’s practice of shaping and maintaining this practical identity. (shrink)

In what follows I offer some reflections on an ethics of listening, or perhaps more generally a philosophy of listening, that can be discerned in different forms in the experimental music that, since the 1950s, has challenged and radicalised how music is understood. I situate these reflections around three of my own concert experiences as an audience member.

In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory (hereafter Musical Aristotelianism) is an attractive and serviceable hypothesis. However, it is overlooked as a genuine competitor to the more well-known theories of Musical Platonism and nominalism. Worse still, there is no detailed account in the literature of the nature of the universals that the Aristotelian identifies musical works with. In this paper, I argue that the (...) best version of Musical Aristotelianism identifies musical works with structural universals. I first motivate the view by outlining its explanatory benefits. I then argue that Musical Aristotelianism is preferable to Musical Platonism and present a novel account of musical works as structural universals by developing D. M. Armstrong’s theory of structural universals. I discuss the consequences of Musical Aristotelianism with respect to on-going issues in debates about musical works and defend the view against an influential objection, concluding that Musical Aristotelianism is a genuine competitor in debates about the nature of musical works. (shrink)

I explain a tension between musical creationism (the view that musical works are abstract artifacts) and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an instance (...) of a general problem raised by artifacts, both abstract and concrete. I argue that on at least one defensible account of music the tension is especially problematic for abstracta. I focus on musical works, but much of the paper straightforwardly applies to other kinds of abstract artifacts. (shrink)

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)

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)

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)

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 (...) listen to music with our muscles’. This paper attempts to explicate and defend this claim. First, I discuss enactive approaches to consciousness and cognition generally. Next, I apply an enactive model of perceptual consciousness to the experience of listening to music. To clarify what is at stake, I use Peter Kivy’s ‘enhanced formalism’ as a philosophical foil. I then look at how the animate body shapes musical experience. (shrink)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...) and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (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’.

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 (...) go about the practical task of actually increasing our level of well-being, we ought to do so by focusing on practically increasing the levels of the five factors that are characteristic of well-being. If, for instance, an activity such as musical engagement can be shown to positively influence each or all of these five factors, this would be compelling evidence that an activity such as musical engagement can positively contribute to one’s living a flourishing life. I am of the belief that psychological research can and should be used, not only to identify and diagnose maladaptive psychological states, but identify and promote adaptive psychological states as well. In this article I advance the hypothesis and provide supporting evidence for the claim that musical engagement can positively contribute to one’s living a flourishing life. Since there has not yet been a substantive and up-to-date investigation of the possible role of music in contributing to one’s living a flourishing life, the purpose of this article is to conduct this investigation, thereby bridging the gap and stimulating discussion between the psychology of music and the psychology of well-being. (shrink)