What is consciousness? Why and when do we have it? Where does it come from, and how does it relate to the lump of squishy grey matter in our heads, or to our material and social worlds? While neuroscientists, philosophers, psychologists, historians, and cultural theorists offer widely different perspectives on these fundamental questions concerning what it is like to be human, most agree that consciousness represents a 'hard problem'. -/- The emergence of consciousness studies as a multidisciplinary discourse addressing these (...) issues has often been associated with rapid advances in neuroscience-perhaps giving the impression that the arts and humanities have arrived late at the debating table. The longer historical view suggests otherwise, but it is probably true that music has been under-represented in accounts of consciousness. Music and Consciousness aims to redress the balance: its twenty essays offer a timely and multi-faceted contribution to consciousness studies, critically examining some of the existing debates and raising new questions. -/- The collection makes it clear that to understand consciousness we need to do much more than just look at brains: studying music demonstrates that consciousness is as much to do with minds, bodies, culture, and history. Incorporating several chapters that move outside Western philosophical traditions, Music and Consciousness corrects any perception that the study of consciousness is a purely occidental preoccupation. And in addition to what it says about consciousness the volume also presents a distinctive and thought-provoking configuration of new writings about music. (shrink)
This book is a philosophical study of the relations between hearing and thinking about music. The central problem it addresses is as follows: how is it possible to talk about what a listener perceives in terms that the listener does not recognise? By applying the concepts and techniques of analytic philosophy the author explores the ways in which musical hearing may be described as nonconceptual, and how such mental representation contrasts with conceptual thought. The author is both philosopher and (...) musicologist and uniquely combines the perspectives of both disciplines. Exploring the philosophical questions of mental representation in the relatively neglected, nonverbal domain of music, this study is a major contribution to the philosophical understanding of music perception and cognitive theory. (shrink)
Robert Sharpe examines the humanist conception of music as a language--as expressive and intelligible--which has been a dominant theory in Western culture. He argues against the view that music is expressive by causing certain states in us. Rather, he contends that our beliefs about music are integral to our appreciation of it. Differences in musical taste are then not just irresolvable differences in sensitivity, but the result of variations in circumstance and upbringing, of associations and ideology.
Composers with disabilities and the critical reception of their music -- Musical narratives of disability overcome : Beethoven -- Musical narratives of disability accommodated : Schubert -- Musical narratives of balance lost and regained : Schoenberg and Webern -- Musical narratives of the fractured body : Schoenberg, Stravinsky, Bartók, and Copland -- Disability within music-theoretical traditions -- Performing music and performing disability -- Prodigious hearing, normal hearing, and disablist hearing.
The tears of Odysseus -- History : music gives voice to the ineffable -- Tears, chills, and broken bones -- The music itself -- Explaining strong emotional responses to music I -- Explaining strong emotional responses to music II -- The sublime, revisited -- Conclusion : values.
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)
Mārgi Saṅgīta in Upaniṣadic times -- Emotion, aesthetics, bioenergy fields : a brief introduction of the archetypal/historical/living singer effect in the Indian psyche -- Indian aesthetics : the personal and impersonal.
Machen Schlafmittel musikalisch? -- Warum macht Musik hungrig und ein voller Bauch müde? -- Musikgenealogie--was ist das eigentlich? -- Träumen Musiker anders? -- Warum haben manche Frauen und Männer Verlautungsschwierigkeiten? -- Treffen die Botschaften der Mythen und Träume, die von Musik handeln, auch wirklich zu? -- Was geschieht in Menschen, die der Musik verfallen sind?
Translation science is going through a preliminary stage of self-definition. Jakobson’s essay “On linguistic aspects of translation”, whose title is re-echoed in the title of this article, despite the linguistic approach suggested, opened, in 1959, the study of translation to disciplines other than linguistics, semiotics to start with. Many developments in the semiotics of translation — particularly Torop’s theory of total translation — take their cue from the celebrated category “intersemiotic translation or transmutation” outlined in that 1959 article. I (...) intend to outline here the contributions that the science of translation — following a semiotic perspective opened by Peirce and continued by Torop — can gather from another discipline: psychology. The “totalistic” approach to translation provided by Torop can be more deeply enforced by applying to it the consequences deriving from the psychological insight offered by the concept of “interpretant” as mental sign; the perceptual interpretation of the prototext; reading and writing as intersemiotic translation processes; unlimited semiosis as interminable analysis; primary and secondary process in dreams and in other kinds of translation; metaphor and disambiguation as mental processes; the defenses activated when translation criticism (review) and self-criticism (revision) are made. (shrink)
Time and Memory throws new light on fundamental aspects of human cognition and consciousness by bringing together, for the first time, psychological and philosophical approaches dealing with the connection between the capacity to represent and think about time, and the capacity to recollect the past. Fifteen specially written essays offer insights into current theories of memory processes and of the mechanisms and cognitive abilities underlying temporal judgements, and draw out key issues concerning the phenomenology and epistemology of memory (...) and its role in our understanding of time. (shrink)
An outline topography of musical accessibility. What is musical accessibility? ; Society, atonality, psychology -- Accessibility discourse in rock, and cultural change. Case study 1 : 'Prog' rock/punk rock : sophistication, directness and shock ; Zeitgeist : accessibility in flux -- A valiant failure? : new art music and the people. Case study 2 : Vaughan Williams' national music in context ; Art music, vernacular music and accessibility -- Accessibility, identity and social action. Case study 3a (...) : Accessibility in action : Bahia, Brazil ; 3b : Samba in Wales : how is adopted music accessible? -- Part five. Themes. Some key concepts. (shrink)
During the last few decades, most cultural critics have come to agree that the division between "high" and "low" art is an artificial one, that Beethoven's Ninth and "Blue Suede Shoes" are equally valuable as cultural texts. In Who Needs Classical Music?, Julian Johnson challenges these assumptions about the relativism of cultural judgements. The author maintains that music is more than just "a matter of taste": while some music provides entertainment, or serves as background noise, other (...) class='Hi'>music claims to function as art. This book considers the value of classical music in contemporary society, arguing that it remains distinctive because it works in quite different ways to most of the other music that surrounds us. This intellectually sophisticated yet accessible book offers a new and balanced defense of the specific values of classical music in contemporary culture. Who Needs Classical Music? will stimulate readers to reflect on their own investment (or lack of it) in music and art of all kinds. (shrink)
The Cultural Study of Music is an anthology of new writings that will serve as a basic textbook on music and culture. Increasingly, music is being studied as it relates to specific cultures-not only by ethnomusicologists, but by traditional musicologists as well. Drawing on writers from music, anthropology, sociology, and the related fields, the book both defines the field-i.e., "What is the relation between music and culture?"-and then presents case studies of particular issues in world (...) musics. This book would serve as an introductory textbook for the cultural study of music, an area that is increasingly being taught at the upper-level undergraduate and graduate level. Plus it would appeal to scholars in all areas of music, reflecting the latest and most up to date thinking on the complex issues surrounding how music and culture interrelate. (shrink)
Other people's music -- Musical animals -- What's involved in sounding human? -- Cross-cultural understanding -- The music of language -- Musical synesthesia -- A song in your heart -- Comfort and joy -- Beyond ethnocentrism.
Psychological Metaphysics is an exploration of the most basic and important assumptions in the psychological construction of reality, with the aim of showing what they are, how they originate, and what they are there for. Peter White proposes that people basically understand causation in terms of stable, special powers of things operating to produce effects under suitable conditions. This underpins an analysis of people's understanding of causal processes in the physical world, and of human action. In making a (...) radical break with the Heiderian tradition, Psychological Metaphysics suggests that causal attribution is in the service of the person's practical concerns and any interest in accuracy or understanding is subservient to this. Indeed, a notion of regularity in the world is of no more than minor importance, and social cognition is not a matter of cognitive mechanisms or processes but of cultural ways of thinking imposed upon tacit, unquestioned, universalassumptions. Incorporating not only research and theory in social cognition and developmental psychology, but also philosophy and the history of ideas, Psychological Metaphysics will be challenging to everyone interested in how we try to understand the world. (shrink)
The famous quip "I don't know much about art, but I know what I like" sums up many people's ideas about how to judge a work of art; but there are inherent limitations if we rely on immediate impressions in judging what should be enduring products of our culture. While some might criticize this as a return to "elitism," Joshua Fineberg argues that without some way of determining intrinsic value, there can be no movement forward for creators or their audience. (...) He draws on contemporary thought about "Design space" and "Universal Grammar" to show how intrinsic values can be rediscovered. He then looks at the importance of multimedia in allowing multiple points of entry for the discovering of new works, finally showing how the composer can "Design music for human beings"--creating a kind of art that can preserve the research agenda of conceptual work without renouncing the understanding of human listeners and performers embodied by craft. Classical Music: Why Bother? will intrigue all listeners of contemporary music, students of musical thought, and composers-but it will also interest students of contemporary aesthetics. It answers the age-old question "How can we bring a new audience to contemporary art?" - and challenges both the creators and their audience to broaden their ideas about what is valuable and lasting in today's culture. (shrink)
These free-wheeling, often exhilarating dialogues—which grew out of the acclaimed Carnegie Hall Talks—are an exchange between two of the most prominent figures in contemporary culture: Daniel Barenboim, internationally renowned conductor and pianist, and Edward W. Said, eminent literary critic and impassioned commentator on the Middle East. Barenboim is an Argentinian-Israeli and Said a Palestinian-American; they are also close friends. As they range across music, literature, and society, they open up many fields of inquiry: the importance of a sense of (...) place; music as a defiance of silence; the legacies of artists from Mozart and Beethoven to Dickens and Adorno; Wagner’s anti-Semitism; and the need for “artistic solutions” to the predicament of the Middle East—something they both witnessed when they brought young Arab and Israeli musicians together. Erudite, intimate, thoughtful and spontaneous, Parallels and Paradoxes is a virtuosic collaboration. (shrink)
This book is about aesthetic processes and play from the perspectives of psychologists, philosophers, and semiologists. They explore the underlying processes from many viewpoints, including the prehistoric roots of language and art; the historical evolution of artistic, literary, and musical styles; the structure of artworks from both gestalt and semiotic perspectives; the biological and psychological processes underlying production and appreciation; the appeal of sentimental art; emotional responses to art and other aesthetic forms; personality in relation to artistic style; the (...) testing and measurement of art-related skills; the relations between social life and literary understanding; literature in relation to media; as well as neurobiological, developmental and individual growth perspectives on play activity. (shrink)
A brief account is given of Pyrrhonian scepticism, as portrayed by Sextus Empiricus. This scepticism differs significantly from the views commonly attributed to 'the sceptic' which take scepticism to be a view or philosophical position to the effect that there can be no knowledge. The Pyrrhonist makes no philosophical assertions, because he does not find the arguments in favor of any position to be decisively stronger than the arguments against. Objections to scepticism, for instance that the sceptic cannot consistently show (...) trust and confidence, that he must ignore the obvious achievements of science, and that he cannot distinguish between appearance and reality, are found to be indecisive in the case of Pyrrhonism. After submitting Pyrrhonism to criteria of positive mental health, the author concludes by suggesting there are cases where a sceptical bent of mind should be encouraged. (shrink)
The recorded musical text -- Recording, repetition, and meaning in absolute music -- Schnabel's rationalism, Gould's pragmatism -- Digital mythologies -- Beethoven and the iPod Nation -- Photo/phono/pornography -- Mahler as imagist.
The Ikhwan al-Safa' (Brethren of Purity), the anonymous adepts of a tenth-century esoteric fraternity based in Basra and Baghdad, hold an eminent position in the history of science and philosophy in Islam due to the wide reception and assimilation of their monumental encyclopaedia, the Rasa'il Ikhwan al-Safa' (Epistles of the Brethren of Purity). This compendium contains fifty-two epistles offering synoptic accounts of the classical sciences and philosophies of the age; divided into four classificatory parts, it treats themes in mathematics, logic, (...) natural philosophy, psychology, metaphysics, and theology, in addition to didactic fables. The Rasa'il constitutes a paradigmatic legacy in the canonization of philosophy and the sciences in mediaeval Islamic civilization, and has also shown a permeating influence in Western culture. This is the third volume in a series presenting the very first critical edition of the Rasa'il in its original Arabic, complete with the first fully annotated English translation. Epistle 5: On Music examines not just the technical, scientific, and mathematical aspects of music, but its cosmic, psychological, and spiritual dimensions. Music completed the classical training of the quadrivium (the sine qua non for further studies in philosophy and theology), and, as with other epistles of this group, there is much emphasis on numeric proportions and the underlying cosmic order of the universe. Technical concepts such as rhythm, tone, metre, and melody, along with the lute and its tunings as these relate to the fourfold Galenic theory, lead to a consideration of the psychological applications and the ultimately spiritual nature of music. (shrink)
The existential approach described by Mark Nesti offers a radical alternative to the cognitive-behavioral model which informs most contemporary applied sports psychology. Whereas standard psychological models of athlete behavior would advocate appropriate "mental skills" training such as visualizing the perfect race to help an athlete overcome performance problems, the existential approach will refer to an athletes unique emotional world to find deeper causes of their limitation. These causes may be only very indirectly linked to the athletes sporting life. Existential (...) sports psychology has gone out of phenomenological theory and existential philosophy. Mark Nesti's text is the first book to present an overview of this exciting approach. It contains case studies and a framework for psychologists to apply this approach to their work. (shrink)
Decision making is a crucial element in the field of medicine. The physician has to determine what is wrong with the patient and recommend treatment, while the patient has to decide whether or not to seek medical care, and go along with the treatment recommended by the physician. Health policy makers and health insurers have to decide what to promote, what to discourage, and what to pay for. Together, these decisions determine the quality of health care that is provided. Decision (...) Making in Health Care is an up-to-date, comprehensive overview of the field of medical decision making. It includes quantitative theoretical tools for modeling decisions, psychological research on how decisions are actually made, and applied research on how physician and patient decision making can be improved. (shrink)
This is the first comprehensive view of the work of scholars in several different disciplines contributing to the development of the psychology of science. This new field of inquiry is a systematic elaboration and application of psychological concepts and methods to clarify the nature of the scientific enterprise. While the psychology of science overlaps the philosophy, history, and sociology of science in important ways, its predominant focus is on individuals and small groups, rather than broad social institutions and concepts. (...) The introduction surveys the field and traces its evolution in a historical context. Several contributors address epistemological issues raised by the psychology of science. Subsequent chapters discuss developments in the cognitive psychology of science, scientific theory, and the influence of social relationships on scientists' work. The conclusion proposes an agenda for further progress in this new approach to understanding science. (shrink)