People often reason about omissions. One line of research shows that people can distinguish between the semantics of omissive causes and omissive enabling conditions: for instance, not flunking out of college enabled you (but didn’t cause you) to graduate. Another line of work shows that people rely on the normative status of omissive events in inferring their causal role: if the outcome came about because the omission violated some norm, reasoners are more likely to select that omission as a cause. (...) We designed a novel paradigm that tests how norms interact with the semantics of omissive enabling conditions. The paradigm concerns the circuitry of a mechanical device that plays music. Two experiments used the paradigm to stipulate norms and present a distinct set of possibilities to participants. Participants chose which causal verb best described the operations of the machine. The studies revealed that participants’ responses are best predicted by their tendency to consider the semantics of omissive relations. In contrast, norms had little to no effect in participants’ responses. We conclude by marshaling the evidence and considering what role norms may play in people’s understanding of omissions. (shrink)

People more frequently select norm-violating factors, relative to norm- conforming ones, as the cause of some outcome. Until recently, this abnormal-selection effect has been studied using retrospective vignette-based paradigms. We use a novel set of video stimuli to investigate this effect for prospective causal judgments—i.e., judgments about the cause of some future outcome. Four experiments show that people more frequently select norm- violating factors, relative to norm-conforming ones, as the cause of some future outcome. We show that the abnormal-selection effects (...) are not primarily explained by the perception of agency (Experiment 4). We discuss these results in relation to recent efforts to model causal judgment. (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)

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)