Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju biti (...) odgovorni za poučavanje o istinskoj prirodi umjetnosti; umjetnost ne može biti jednaka estetskom iskustvu; društvo se mora reorganizirati u društvo bazirano na vokaciji, što je analogno Platonovu mišljenju.Philosophy of Art in the thinking of Anande Kentish Coomaraswamy is connected with traditional philosophy. Aesthetics in modern sense has nothing to do with traditional philosophy of art which basic principle is “The artist is not special kind of man” but “Every man is special kind of artist”. Coomaraswamy wants to redefine contemporary approach to art. Contemporary artist does not create in accordance with Eternal Truth.art is not iconography of transcendental forms but real picture of disoriented mentality. In order to redefine approach to art basic language of art must be changed; educators and curators must have responsibility to teach about true nature of art; art can not be equal with esthetic experience; society must be reorganized into one that is based on vocation in analogy with Plato’s thought. (shrink)

The past 15 years have witnessed an increasing interest in the comparative study of language and music as cognitive systems. This book presents an interdisciplinary study of language and music, exploring the following core areas - structural comparisons, evolution, learning and processing, and neuroscience.

Together with language, music is perhaps the most distinctive behavioral trait of the human species. Different hypotheses have been proposed to explain why only humans perform music and how this ability might have evolved in our species. In this paper, we advance a new model of music evolution that builds on the self-domestication view of human evolution, according to which the human phenotype is, at least in part, the outcome of a process similar to domestication in (...) other mammals, triggered by the reduction in reactive aggression responses to environmental changes. We specifically argue that self-domestication can account for some of the cognitive changes, and particularly for the behaviors conducive to the complexification of music through a cultural mechanism. We hypothesize four stages in the evolution of music under self-domestication forces: (1) collective protomusic; (2) private, timbre-oriented music; (3) small-group, pitch-oriented music; and (4) collective, tonally organized music. This line of development encompasses the worldwide diversity of music types and genres and parallels what has been hypothesized for languages. Overall, music diversity might have emerged in a gradual fashion under the effects of the enhanced cultural niche construction as shaped by the progressive decrease in reactive (i.e., impulsive, triggered by fear or anger) aggression and the increase in proactive (i.e., premeditated, goal-directed) aggression. (shrink)

Silence is reserved for what cannot be verbally expressed. The well-known Wittgensteinian quote summarizes an established understanding of the relationship between language and silence: because language is not enough to account for reality and thinking, it must be transcended by other means of expression, like music or silence. But what if the opposite is the case and silence is not the extension but the precondition of language, the ultimate source of meaning? This paper explores how this (...) is the phenomenological and Derridean philosophical framework of Coetzee’s novels, a literary universe created from the will to signify and build singular meanings. (shrink)

Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively grasp abstract rules fixed independently of (...) human responses, and that cognizers are thereby capable of grasping rules for the correct application of aesthetic concepts without relying on evaluation or enculturation. However, in this article I use Wittgenstein’s rule-following considerations to argue that psychological theories grounded upon this so-called objective model of rule-following fail to adequately account for concept acquisition and mastery. I argue that this is because linguistic enculturation, and the perceptual learning that’s often involved, influences and enables the mastery of aesthetic concepts. I argue that part of what’s involved in speaking aesthetically is to belong to a cultural practice of making sense of things aesthetically, and that it’s within a socio-linguistic community, and that community’s practices, that such aesthetic sense can be made intelligible. (shrink)

explored only in the context of (a) the differences between them, and (b) those parallels that are also shared with other cognitive capacities. The two differ in many aspects of structure and function, and, with the exception of the metrical grid, all aspects they share appear to be instances of more general capacities.

Selected Contributed Papers of the Tenth International Congress of Logic, Methodology and Philosophy of Science, Florence, August 1995.

The online processing of both music and language involves making predictions about upcoming material, but the relationship between prediction in these two domains is not well understood. Electrophysiological methods for studying individual differences in prediction in language processing have opened the door to new questions. Specifically, we ask whether individuals with musical training predict upcoming linguistic material more strongly and/or more accurately than non-musicians. We propose two reasons why prediction in these two domains might be linked: Musicians (...) may have greater verbal short-term/working memory; music may specifically reward predictions based on hierarchical structure. We provide suggestions as to how to expand upon recent work on individual differences in language processing to test these hypotheses. (shrink)

I. History. Mainwaring's Handel : its relation to British aesthetics -- Herbert Spencer and a musical dispute -- II. Opera and film. Handel's operas : the form of feeling and the problem of appreciation -- Anti-semitism in Meistersinger? -- Speech, song, and the transparency of medium : on operatic metaphysics -- III. Performance. On the historically informed performance -- Ars perfecta : toward perfection in musical performance? -- IV. Interpretation. Another go at the meaning of music : Koopman, Davies, (...) and the meaning of "meaning" -- Another go at musical profundity : Stephen Davies and the game of chess -- From ideology to music : Leonard Meyer's theory of style change -- Sibley's last paper -- In defense of musical representation : music, representation, and the hybrid arts -- Music, language, and cognition : which doesn't belong? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 28.1 (2004) 220-223 [Access article in PDF] Doing Our Own Thing. The Degradation of Language and Music and Why We Should, Like Care, by John McWhorter; xiv & 279 pp. New York: Gotham Books, 2003, $26.00. In 2002, the first anniversary of the September 11th attacks was marked in New York City by the reading of the Gettysburg Address. It was, as many commentators (...) noted, an odd choice of eulogy, comparing as it did the unwitting and innocent victims of a terrorist attack to the willing and active [End Page 220] participants in a bloody civil war. In Doing Our Own Thing, the Berkeley linguist John McWhorter asserts that this strange choice was the result of a decline in American public discourse. A "particular kind of artful English, formerly taken for granted as crucial to legitimate expression on the civic stage has" he argues, "virtually disappeared" (p. xiv). For McWhorter, this lack of contemporary public oratory is merely part of a broader linguistic decline that has affected all aspects of American life and culture.There has, he suggests, been a dumbing-down of the language. Whereas Americans once took care to craft their language, public and private, McWhorter argues, there is now a casualness to their speech and writing which affects all aspects of their existence. The nature of this decline is best captured by McWhorter's anecdote about his research into Gullah, an obscure Creole dialect. In response to his inquiries about local speech patterns, an elderly black woman in Greenwood, Mississippi responded: "Well, seems like most folks, they speak pretty good English, but some people, it seems like they just talk" (p. 2). Whereas Americans once spoke pretty good English, McWhorter believes, now, for the most part, they just talk. In Doing Our Own Thing, he seeks to identify not only evidence for his thesis, but also the causes and consequences of this decline.Evidence of linguistic decline is, McWhorter believes, to be found in our public discourse (as evidenced by the contemporary use of the Gettysburg Address), and in the rise of rap music and popular lyrics at the expense of poetry—he notes that as late as the 1960s, the poet Marianne Moore was a guest on The Tonight Show twice. Less intuitively perhaps, he identifies the same decline in the decreased popularity of piano bars, and the rising popularity of cell-phones. What all these examples of have in common, McWhorter suggests, is a turn towards an oral as opposed to a written culture. Speech has, he says, become something of a "dress-down affair" (p. 49), and this has infected both our written word and public oratory. The "modern American speech writer" he notes, "tends strongly to operate under a guiding imperative not to sound too high a note" (p. 47). McWhorter contrasts this with examples from the nineteenth-century—with letters from ordinary soldiers to their sweethearts, and with Edward Everett's two-hour plus address at Gettysburg—which show that "we live in an America with a distinctly different relationship to the English language than an America still within living memory" (p. 167).For McWhorter, the causes of this decline are clear. The 1960s counterculture, in its efforts to "Speak Truth to Power, abandoned the formal conventions of previous generations' speech, and adopted its own more casual approach to public discourse. Indeed, McWhorter feels confident enough to identify "a single year when America lost its love for its language": 1965 (p. 183). The consequences of this decline are, for McWhorter, similarly obvious. Among them, the shift to an oral culture is held to be responsible for: the election of George W. Bush—Al Gore's "studied articulateness is certainly one of the major [End Page 221] factors that blocked him from winning the presidency" (p. xxi); the decline of contemporary political debate—more formal written language is, says McWhorter, "a better vehicle for objective argument than speech" (p. 35); and the increasingly obtuse nature of academic language. Indeed, McWhorter asserts that Judith Butler... (shrink)

Neurocognitive and genetic approaches have made progress in understanding language-music interaction in the adult brain. Although there is broad agreement that learning processes affect how we represent, comprehend, and produce language and music, there is little understanding of the content and dynamics of the early language-music environment in the first years of life. A developmental-ecological approach sees learning and development as fundamentally embedded in a child’s environment, and thus requires researchers to move outside of (...) the lab to understand what children are seeing, hearing, and doing in their daily lives. In this paper, after first reviewing the limitations of traditional developmental approaches to understanding language-music interaction, we describe how a developmental-ecological approach can not only inform developmental theories of language-music learning, but also address challenges inherent to neurocognitive and genetic approaches. We then make suggestions for how researchers can best use the developmental-ecological approach to understand the similarities, differences, and co-occurrences in early music and language input. (shrink)

Wittgenstein has often explored language games that have to do with musical objects of different sizes (phrases, themes, formal sections or entire works). These games can refer to a technical language or to common parlance and correspond to different targets. One of these coincides with the intention to suggest a way of conceiving musical understanding. His model takes the form of the invitation to "hear (something) as (something)": typically, to hear a musical passage as an introduction or as (...) a conclusion or in a certain tonality. However one may ask to what extent or in what terms (literal or metaphorical) these procedures, and usually the intervention of language games, is requested by our common ways of understanding music. This article shows through the use of some examples that aspectual perception inherent to musical understanding does not require language games as a necessary condition (although in many cases the link between them seems very strong), in contradiction with the thesis of an essential linguistic character of music. At a basic level, it seems more appropriate to insist on the notion of a game: to understand music means to enter into the orbit of "music games" which show an autonomous functioning. Language games have, however, an important function when we develop this comprehension in the light of the criteria of judgment that substantiate the manner in which music is incorporated in and operates within specific forms of life. (shrink)

Music education discourse is marked by frequent comparisons of music to language, and of music notation to written language. However, the role played by writing, as opposed to reading, is often overlooked in that discourse, as well as in classroom practices and workbooks. Consequently, far too many students can read music notation but not write it. Failing to achieve full literacy in their field, they develop a habit of deference toward printed music. Plato (...) argues in the Phaedrus that we should not take that which is written too seriously. Letting students write music will help them to achieve the perspective of Plato—himself a writer. To read and write are inseparable phases of the same process, representing the understanding and domination of the language and of language. (shrink)

First published in 1959, this original study argues that the main characteristic of music is that it expresses and evokes emotion, and that all composers whose music has a tonal basis have used the same, or closely similar, melodic phrases, harmonies, and rhythms to affect the listener in the same ways. He supports this view with hundreds of musical examples, ranging from plainsong to Stravinsky, and contends that music is a language in the specific sense that (...) we can identify idioms and draw up a list of meanings. The book's final section analyzes two symphonies, Mozart's Fortieth and Vaughan Williams's Sixth, to explore the nature of musical inspiration and the process whereby the notes actually convey emotion from composer to listener. (shrink)

How did human vocalizations come to acquire meaning in the evolution of our species? Charles Darwin proposed that language and music originated from a common emotional signal system based on the imitation and modification of sounds in nature. This protolanguage is thought to have diverged into two separate systems, with speech prioritizing referential functionality and music prioritizing emotional functionality. However, there has never been an attempt to empirically evaluate the hypothesis that a single communication system can split (...) into two functionally distinct systems that are characterized by music- and languagelike properties. Here, we demonstrate that when referential and emotional functions are introduced into an artificial communication system, that system will diverge into vocalization forms with speech- and music-like properties, respectively. Participants heard novel vocalizations as part of a learning task. Half referred to physical entities and half functioned to communicate emotional states. Participants then reproduced each sound with the defined communicative intention in mind. Each recorded vocalization was used as the input for another participant in a serial reproduction paradigm, and this procedure was iterated to create 15 chains of five participants each. Referential vocalizations were rated as more speech-like, whereas emotional vocalizations were rated as more music-like, and this association was observed cross-culturally. In addition, a stable separation of the acoustic profiles of referential and emotional vocalizations emerged, with some attributes diverging immediately and others diverging gradually across iterations. The findings align with Darwin’s hypothesis and provide insight into the roles of biological and cultural evolution in the divergence of language and music. (shrink)

"The scholarship of Michael Spitzer's new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner."-Lydia Goehr, Columbia University The experience of music is an abstract and elusive one, enough so that we're often forced to (...) describe it using analogies to other forms and sensations: we say that music moves or rises like a physical form that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music's abstractions by referencing more concrete and familiar experiences. Michael Spitzer's Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music--the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music's meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians. (shrink)

A vivid and comprehensive picture of the current state of research in all directions of logic and philosophy of science. The book presents a wide combination of papers containing relevant technical results in the foundations of science and papers devoted to conceptual analyses, deeply rooted in advanced present-day research. Audience: The volume is attractive both for specialists in foundational questions and scholars interested in general epistemology.

"This volume is a collection of essays based on lectures given at the Orpheus Institute in Ghent at various occasions over the last 4 years.

The papers collected in this volume exemplify some of the trends in current approaches to logic, language and computation. Written by authors with varied academic backgrounds, the contributions are intended for an interdisciplinary audience. The first part of this volume addresses issues relevant for multi-agent systems: reasoning with incomplete information, reasoning about knowledge and beliefs, and reasoning about games. Proofs as formal objects form the subject of Part II. Topics covered include: contributions on logical frameworks, linear logic, and different (...) approaches to formalized reasoning. Part III focuses on representations and formal methods in linguistic theory, addressing the areas of comparative and temporal expressions, modal subordination, and compositionality. (shrink)

Language and Materiality integrates linguistic anthropological and sociolinguistic scholarship on a range of topics: semiotic approaches to language, language commodification, sound, embodiment, mediatization, and aesthetics. Empirically rigorous, the volume engages scholars and students interested in language, its use, and meanings. It consists of three sections - 'Texts, Objects, Mediality', 'Sound, Aesthetics, Embodiment', and 'Time, Place, Circulation' - containing chapters and short commentaries, framed by a curated conversation about semiotics and materiality in anthropology. Each section theorizes intersections, (...) connections, and relationships between language and materiality across diverse topics and ethnographic contexts. The volume shows that materiality may be approached as a feature of political economy, sensual experience, aesthetics, and affective relationships in its relation to language as talk, register, genre, ideology, and acoustic object. It consists of new perspectives on materiality as a vital dimension of social life and signification in global capitalism, connecting inquiries on subjects as diverse as food, media, fonts, and music. (shrink)

The absence of a clear distinction between notions of the individual and the social or general must, in fact, raise particularly strong reservations about any critical method as preoccupied as French structuralism is with comparisons between art and natural language. To be sure, this preoccupation has led to the isolation of many suggestive likenesses and differences between music and language. Among the likenesses, for example, is the assertion that both language and music constitute semiotic media (...) within which the same techniques for verifying competence and correctness of usage can be applied. Lévi-Strauss is insistent that musical as well as linguistic usage must be subject to verification through reference to some sort of "double articulation," or what will more generally be called here "dual structure," that is, through some method whereby, in effect, speakers and listeners can test each other's competence by altering the relationship between a more general and a more particularized level of a system and observing each other's responses.1 Nattiez essentially rejects this method of verifying competence, but he proposes two others which have analogues in the linguistic theory, respectively, of Zellig Harris and of Noam Chomsky ; interestingly these methods, which appear to be more "modern" than Lévi-Strauss', rely far more heavily on faith in fundamentally unexplainable judgments by single individuals, especially by individual "experts." · 1. Lévi-Strauss' somewhat obscure account of double articulation in Raw and Cooked differs from standard accounts such as André Martinet's and John Lyons' in Noam Chomsky , pp. 19-20. Lévi-Strauss appears to include both phonemes and morphemes in the code level, whereas it is more usual to oppose to the phonemic or sound level a level of meaning which is both semantic and morphemic. Rose Rosengard Subotnik is an assistant professor of music at the University of Chicago. She has written on Adorno's criticism of nineteenth-century music and is currently studying the relation between nineteenth-century German music and philosophy. She has contributed "Tonality, Autonomy, and Competence in Post-Classical Music" to Critical Inquiry. (shrink)

Most commentators have underplayed the philosophical importance of Wittgenstein's multifarious remarks on music, which are scattered throughout his Nachlass. In this dissertation I spell out the extent and depth of Wittgenstein's engagement with certain problems that are regarded today as central to the field of the aesthetics of music, such as musical temporality, expression and understanding. By considering musical expression in its relation to aspect-perception, I argue that Wittgenstein understands music in terms of a highly evolved, vertically (...) complex physiognomic language-game, in which fine shades of behavior are logically (semantically) connected with the musical experiences themselves. A musical passage conjoins the multifarious language games that are presupposed in it and the emerging gesture that ultimately insinuates itself into our life. Wittgenstein conceives music as a mode of expression, a path leading from the world of our thoughts and feelings, which in itself is not yet music, toward a gesture which is no longer music, but which belongs to the world of thoughts and feelings. A melody can be located at this crossroads of music, language and the world, and is understood in reciprocal action with language. Musical gesture insinuates itself into our life, for, like a human face, it speaks of and reflects our "knowledge of mankind," and it is ultimately understood only against the background of "the bustle of life," as Wittgenstein calls it. I also argue that Wittgenstein's discussion of musical understanding suggests an important model, albeit not an exclusive one, for understanding language. The musicality of language points first and foremost at the way we use words in the vertically complex language game of expression, and at the intransitive understanding that goes with it. Throughout the dissertation I address a number of unique topics that have rarely, if ever, been investigated in this context. These include inter alia Wittgenstein's 1912-1913 experiments on the perception of rhythm, Oswald Spengler's influence on Wittgenstein's remarks on music, Wittgenstein's reaction to Heinrich Schenker's view of music, and the complex, elusive relation between Wittgenstein's later philosophical views and Arnold Schoenberg's dodecaphonic music. (shrink)

How music and speech evolved is a mystery. Several hypotheses on their origins, including one on their joint origins, have been put forward but rarely tested. Here we report and comment on the first experiment testing the hypothesis that speech and music bifurcated from a common system. We highlight strengths of the reported experiment, point out its relatedness to animal work, and suggest three alternative interpretations of its results. We conclude by sketching a future empirical programme extending this (...) work. (shrink)

This study sought to understand the effects of tone language repertoire and musical experience on nonnative lexical tone perception and production. Thirty-one participants completed a tone discrimination task, an imitation task, and a musical abilities task. Results showed that a larger tone language repertoire and musical experience both enhanced tone discrimination performance. However, the effects were not additive, as musical experience was associated with tone discrimination performance for single-tone language speakers, but such association was not seen for (...) dual-tone language speakers. Furthermore, among single-tone language speakers, but not among dual-tone language speakers, musical experience and musical aptitude positively correlated with tone discrimination accuracy. It is thus concluded that individuals with varying extents of tone language experience may adopt different strategies when performing tone discrimination tasks; single-tone language speakers may draw on their musical expertise while dual-tone language speakers may rely on their extensive tone language experience instead. (shrink)

It was once thought that solely humans were capable of complex cognition but research has produced substantial evidence to the contrary. Art and music, however, are largely seen as unique to humans and the evidence seems to be overwhelming, or is it? Art indicates the creation of something novel, not naturallyoccurring in the environment. To prove its presence or absence in animals is difficult. Moreover, connections between music and language at a neuroscientific as well as a behavioural (...) level are not fully explored to date. Even more problematic is the notion of an aesthetic sense. Music, so it is said, can be mimetic, whereas birdsong is not commonly thought of as being mimetic but as either imitation or mimicry and, in the latter case, as a ‘mindless’ act (parrots parroting). This paper will present a number of examples in which animals show signs of responsiveness to music and even engage in musical activity and this will be discussed from an ethological perspective. A growing body of research now reports that auditory memory and auditory mechanisms in animals are not as simplistic as once thought and evidence suggests, in some cases, the presence of musical abilities in animals. (shrink)