The work of the French Lithuanian Jewish philosopher, Emmanuel Levinas, describes a perceptive rethinking of the possibility of concrete acts of goodness in the world, a rethinking never more necessary than now, in the wake of the cruel realities of the twentieth century—ten million dead in the First World War, forty million dead in the Second World War, Hiroshima, Nagasaki, the Soviet gulags, the grand slaughter of Mao’s “Great Leap Forward,” the pointless and gory Vietnam War, the Cambodian self-genocide and (...) many an attempted extermination from the face of the earth of entire nations of indigenous peoples. The list of horrors goes on and on—daily holocausts that do not distinguish between the civilian and the soldier, the guilty and the innocent, those deserving of life and those less deserving. (shrink)

Burnout is a risk for many music teachers, particularly the highly successful and effective teachers. Burnout is more than a personal feeling of discomfort or fatigue. It is an attack on professional efficiency and personal integrity. Burnout is affecting male and female music teachers in different ways, because women tend to react to stress in other ways than men and are in a different position in schools, often suffering from the various roles they have both in professional and private life. (...) The school environment, which is often male dominated, output-oriented, and focused on achievement, is sometimes not a good place for a female music educator's creativity, intuition, and search for personal growth. This paper explores ways philosophy of music education can contribute to a more comprehensive understanding of female music teachers' burnout, also offering opportunities for prevention or treatment. (shrink)

Compassion is a sign of superficiality: broken destinies and unrelenting misery either make you scream or turn you to stone. Pity is not only inefficient; it is also insulting. And besides, how can you pity another when you yourself suffer ignominiously? Compassion is as common as it is because it does not bind you to anything! Nobody in this world has yet died from another's suffering. And the one who said that he died for us did not die; he was (...) killed. (E. M. Cioran, On the Heights of Despair). (shrink)

In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels of (...) automation and his ability to respond to emerging hazard or assessing driver’s ability to monitor the vehicle performing operational tasks in higher levels of automation. Unfitted DFS (e.g., drowsiness) may impact the driver ability respond to taking over abilities. This paper reviews the most appropriate psychophysiological indices in naturalistic driving while considering the DFS through exogenous sensors, providing the more efficient trade-off between reliability and intrusiveness. The DFS also originates from kinematic data of the vehicle, thus providing information that indirectly relates to drivers behaviour. The whole data should be synchronously processed, providing a diagnosis on the DFS, and bringing it to the attention of the decision maker in real time. Next, making the information available can be permanent or intermittent (or even undelivered), and may also depend on the automation level. Such interface can include recommendations for decision support or simply give neutral instruction. Mapping of relevant psychophysiological and behavioural indicators for DFS will enable practitioners and researchers provide reliable estimates, fitted to the level of automation. (shrink)

This chapter contains sections titled: Notes.

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)

Angus Fletcher is one of our finest theorists of the arts, the heir to I. A. Richards, Erich Auerbach, Northrop Frye. This, his grandest book since the groundbreaking Allegory of 1964, aims to open another field of study: how thought--the act, the experience of thinking--is represented in literature. Recognizing that the field of formal philosophy is only one demonstration of the uses of thought, Fletcher looks for the ways other languages (and their framing forms) serve the purpose of certain thinking (...) activities. What kinds of thinking accompany the writing of history? How does the gnomic sentence manage to represent some point of belief? The fresh insights Fletcher achieves at every turn suggest an anatomy of poetic and fictional strategies for representing thought--the hazards, the complications, the sufferings, the romance of thought. Fletcher's resources are large, and his step is sure. The reader samples his piercing vision of Milton's Satan, the original Thinker, leaving the pain of thinking as his legacy for mankind; Marvell's mysteriously haunting "green thought in a green shade"; Old Testament and Herodotus, Vico and Coleridge; Crane, Calvino, Stevens. Fletcher ranges over the heights of literature, poetry, music, and film, never losing sight of his central line of inquiry. He includes comments on the essential role of unclear, vague, and even irrational thinking to suggest that ideas often come alive as thoughts only in a process of considerable distress. In the end he gives us literature--not the content of thought, but its form, its shape, the fugitive colors taken on by the mind as represented in art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music Education for the New Millennium: Theory and Practice Futures for Music Teaching and LearningSean PenderelMusic Education for the New Millennium: Theory and Practice Futures for Music Teaching and Learning, edited by David K. Lines. Malden, MA: Blackwell Publishing, 2005, 150 pp., $34.95 paper.Music Education for the New Millennium is a 150-page collection of essays focused mainly upon philosophical introspection into the current condition of the profession. Within (...) this volume there are eight philosophic essays and one quantitative research article, by Alastair McPhee, Peter Stollery, and Ros McMillan. Other essays, beyond the work of the editor, were contributed by Thomas Regelski, Wayne Bowman, Robert Davis, Lucy Green, David Elliott, Constantijn Koopman, and Janet Mansfield. This collection contributes to our contemporary quandaries about aesthetics and praxialism in addition to adding pertinent questions for both philosophy and music education.The overall purpose of this volume is to stimulate thinking in ways not accounted for in the classroom or studio environments and expand upon the broader discourses impacting the profession and society (3). Given that Lines organized this volume as a collection about a specified theme, I will approach this review threefold. First, I will examine overall features that were promising and those that were disappointing. Second, each chapter's contributions will be examined in light of the aim of the volume. Lastly, each essay will also be examined for its contributions apart from the volume, due to the fact that all of the works can stand alone.Within this framework, six themes continually emerged throughout the essays. These themes involved the use and abuse of musical meaning; the construction of musical meaning and understanding; language used within advocacy; the difficulties presented by both aesthetics and praxialism; the problems posed by our focus upon psychology; and lastly, the "what works" mentality of efficient systems. These themes are incredibly relevant to the contemporary discussion surrounding music education in addition to benefiting the whole of the profession. In some fashion or another, each author confronts one to many of these issues efficiently and effectively, to the point that the volume and its aim is solidified within Bowman's essay, "Music Education in Nihilistic Times." As a negative point, however, an internal organization around these themes never seems to appear, and without this the volume lacks a certain flow; each chapter stands alone. Although internal organization is petty globally for this volume, it does affect its readability.Regelski's essay appears first and critiques both traditional aesthetics and praxial philosophy. Interestingly, he weighs the potential dangers posed by both and drifts toward the notion of praxis while maintaining a certain aesthetic influence within his philosophy. Through music education's abuse of aesthetics, Regelski chronicles the elevation of experience beyond societal values of participation, production, and the process of music creation. Due to this, the profession has been subject to a certain dependency upon the positive aesthetic experience rather than on the participatory process of education. Furthermore, he notes that aesthetics, when stretched to its philosophic extreme, has had a tendency to become exclusive and elitist. I liken [End Page 117] this to the Gnostic practices within early Christianity. This sect valued a spiritual/aesthetic experience and its resulting "enlightenment," which occurred during a state of ecstasy, to the point of elevating those who had experienced this moment beyond those who had not.To curb this movement, Regelski suggests redefining aesthetics in the tradition of Dewey and Wittgenstein rather than that of Kant. In the former, the aesthetics are tied directly to the using of the object, or the practice of doing and creating. In contrast, in the Kantian tradition, which has dominated music philosophy, the experience becomes removed from the practice and is elevated to a position of esteem, beyond that of understanding. Likewise, praxialism, when taken to its extreme, has the potential to suffer from breadth without depth, which may result in a loss of content and depth of understanding. Regelski suggests that what needs to occur is a balance of depth and breadth with a focus on the development of musicianship. If this occurs then the experience will become valued as a result of participation in the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching (...) TV, as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

Community-level legal and policy innovations or “experiments” can be important levers to improve health. States and localities are empowered through the 10th Amendment of the United States Constitution to use their police powers to protect the health and welfare of the public. Many legal and policy tools are available, including: the power to tax and spend; regulation; mandated education or disclosure of information, modifying the environment — whether built or natural ; and indirect regulation. These legal and policy interventions can (...) be targeted to specific needs at the community level and are often relatively low-cost, but high impact interventions. As every community is different, effective laws and policies will vary. This freedom allows states and localities to, as Justice Louis Brandeis argued, truly serve as “laboratories of democracy.”. (shrink)

Since the first degrees of musicality of mankind, the music became a sphere of investigation for naturalists (Darwin), economists (Karl Bücher), philosophers (Spencer, Schopenhauer, Cioran), who tried to explain, through their theories, the process of the beginning and settlement of this phenomenon as well as its influence on the human being.Schopenhauer will consider art, and especially music, as the only liberating form from delusion and suffering, from the omnipotence will to live. Making a strange parallelism between music and the will (...) to live, Schopenhauer will find between these two a report of identity: “the world is an incarnation of music as well as an incarnation of Will: There is no art besides music that expresses an ideal aspect of Will, the Will itself in its purest essence”.If at Schopenhauer the music expresses the Will itself in its purest essence, at Emil Cioran “the metaphysical madness of the musical experience… weakens the will to live and the vital main springs”.Through music Emil Cioran found the way to himself, to his ego and his profound musical nature.The moments of separating of the delusions world are for the human being moments in which the entire existence feels like a melody and all of the being’s sufferings assemble and melt into “a convergence of sounds, into a musical enthusiasm and into a warm and resonant universal community”, into a “sweet and rhythmic immateriality”. (shrink)

In The Birth of Tragedy Nietzsche expounds on the origins of Greek tragedy and its relevance to the German culture of its time. He declares it to be the expression of a culture which has achieved a delicate but powerful balance between Dionysian insight into the chaos and suffering which underlies all existence and the discipline and clarity of rational Apollonian form. In order to promote a return to these values, Nietzsche critiques the complacent rationalism of late nineteenth-century German culture (...) and makes an impassioned plea for the regenerative potential of the music of Wagner. A wide ranging discussion of the nature of art, science, and religion, The Birth of Tragedy's argument raises important questions about the problematic nature of cultural origins which are still valid today. (shrink)

A book reading between k.d. lang's interpretation of Leonard Cohen's 'Hallelujah,' male and female desire, today's network culture, Adorno on radio and Nietzsche on the Greeks. The working of music is transformed by digital media, broadcast and recording dynamics. Given the sexual/religious core of Cohen's Hallelujah, this study poses a phenomenological reading of the objectification of both men and women, raising the question of desire, including gender issues and both homosexual and heterosexual desire. A review of critical thinking about musical (...) performance as 'currency' and consumed commodity takes up Adorno's reading of Benjamin's analysis of the work of art in the age of mechanical reproduction as applied to music/radio/sound and the persistent role of 'recording consciousness'. Ultimately, the question of what Nietzsche called the becoming-human-of-dissonance is explored in terms of both ancient tragedy and Beethoven's striking deployment of dissonance as Nietzsche analyses both as playing with suffering, discontent, and pain itself, musically, as joy. (shrink)

It is well known anecdotally that, for many people in dementia, the appreciation of music outlasts other faculties. Could the residual musicality constitute a 'musical self', an enduring fragment of the person that the sufferer used to be? The question, as far we know, has not been raised before. Towards formulating the hypothesis, this article examines some of the available research and theorizing concerning the self and the neurology of music and dementia. A unified neurocognitive 'musical self' system seems plausible, (...) though at present the evidence is sketchy. Social-relational aspects of both selfhood and musical experience are also considered, and a case history is presented so as to highlight their importance for understanding the complex relationship between music, dementia, and selfhood. (shrink)

Schafer contends that we suffer from an overabundance of acoustic information, and explores ways to restore our ability to hear the nuances of sounds around us.

The music of Christoph Willibald von Gluck was a revolution for Paris operagoers when his work premiered there in 1774. In a setting known for its restive and often rowdy spectators, Alceste, Iphigénie en Aulide, and Orpheé et Eurydice seized audiences with unprecedented force. They shed silent tears or sobbed openly, and some cried out in sympathy with the sufferers onstage. “Oh Mama! This is too painful!” three girls called out as Charon led Alcestis to the underworld, and a boy (...) pleaded with his father to take him home. A woman who watched the same performance described falling on her knees in her opera-box as the march of the priests of Apollo began, staying in this position “suppliant and with my hands clasped until the end of the piece.”Gluck's streamlined musical language was one reason for these emotional responses. He and his librettist Ranieri de’ Calzabigi simplified the conventions by eliminating extraneous subplots, abandoning the repetitive da capo form, and replacing trills and runs with simpler melodies meant to convey passion. Another reason was the widespread culture of sentimentalism, which equated virtue with sincerity and judged tears to be the natural sign of an open heart. Painters depicted tender and tumultuous family scenes, and friends pledged trembling vows of fidelity. Listeners were also readers, and many described similar tearful responses when they read the century's bestseller, Rousseau's novel Julie; or, The New Heloise.Everist, a musicologist, takes up the story of Gluck in France in the nineteenth century, when the German composer remained a presence in repertoires. No longer prone to tears, the public was often indifferent and sometimes hostile to his works. Conductors and composers nevertheless persisted in promoting Gluck's music. Between 1828 and 1870, operatic excerpts appeared roughly twice a year in performances of the prestigious Société des Concerts, and the charismatic conductor Jules Pasdeloup regularly programmed his music. Many listeners remained unconvinced. A writer in 1861 described the “sepulchral boredom that reigned the length of all five acts” of Alceste. The periodical Monde dramatique used the same language to characterize Gluck's music: it was “profoundly boring.” After a high point of performances in the middle of Napoleon III's reign, Gluck disappeared from the Paris opera and concert stage for some thirty years.Everist's aim in this slim book is to isolate the “agents” involved in the French reception of Gluck. Traditional reception histories might begin with Gluck and his aims, identifying musical features, particular responses of audiences, critics’ accounts, and perhaps the more elusive temper of the times. Everist focuses instead on less conspicuous networks of impresarios, theater directors, and publishers. In his telling, such agents also include journalists and writers of fiction. The avowed effort is to decenter the artist and his art to emphasize the limited role that composers and librettists play in the performance of an opera. A quoted passage in the book reminds us that without parking attendants, stagehands, and ticket sellers the show could not go on. True enough. Genealogies of Music and Memory therefore provides tables listing Gluck arias in anthologies, particular singers’ performances, works by composers other than Gluck who also drew themes from classical antiquity, and works by other foreign-born composers. A section on “material culture” lists paintings and sculptures of Gluck in Paris theaters and museums.As a “genealogy,” the book is a salutary reminder of the web of amateurs and professionals who discuss, promote, and perform works that others have created. Writers such as E. T. A. Hoffmann, Mme de Staël, and Hippolyte Taine held up Gluck as the embodiment of German music. Hector Berlioz wrote frequently and enthusiastically about Gluck, although he was less keen to program his music. The singers François Delsarte and Pauline Viardot aroused temporary interest in Gluck by regularly including his arias in their recitals. Musical anthologies for the bourgeois household included piano arrangements of his best-known arias. Some nineteenth-century adaptations of his works were scored for the military band.Genealogies of Music and Memory is musicology with very little music. Everist's reliance on networks of actors, agents, publishers, pedagogical practices, and archival environments leads him to assert that “multiple agency is endemic in the story told here.” Unfortunately, it is often unclear just what the story is. Carelessness in writing and editing throughout—including a subject-verb clash in the book's final sentence—has rendered key passages obscure. Everist describes Delsarte's voice as feeble, broken, veiled, and ready to be extinguished twice in the same paragraph, first as a paraphrase and again in a quotation (with a misplaced comma).Decentering artists and their work to elevate others responsible for its reception brings attention to the unseen and often unsung. In the absence of particular performance histories, musical analyses and description, or sustained accounts of shared tastes or critical responses, however, conclusions remain piecemeal. Everist claims to have revealed a “Geertzian web of culture” in his study. A more modest account would describe it as an enumeration of references, revivals, editions, excerpts, and arrangements. (shrink)

The international pharmaceutical industry has made significant efforts towards ensuring compliant and ethical communication and interaction with physicians and patients. This article presents the current status of the worldwide governance of communication practices by pharmaceutical companies, concentrating on prescription-only medicines. It analyzes legislative, regulatory, and code-based compliance control mechanisms and highlights significant developments, including the 2006 and 2012 revisions of the International Federation of Pharmaceutical Manufacturers and Associations (IFPMA) Code of Practice.

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching (...) TV, as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

ABSTRACT Modernity conceived prison as a primary vehicle for the humanization of criminal punishment. Contrarily to this theoretical and normative model, the practice of imprisonment has conserved several elements of the physical and psychological affliction typical of pre-modern forms of criminal retribution. Prison actually embodies a major theme of dystopian fiction because of the useless suffering it somehow implies. Nonetheless, the concrete dystopian experience of incarceration has frequently been challenged by the utopian horizons of opera, which Charles Fourier once conceived (...) as a passionate pivot for social change. From Fidelio to The Shawshank Redemption, opera has represented a utopian wonder of voices that soar “higher and farther than anybody in a grey place dares to dream.” Surrounded by the walls of prison, opera is not merely a snobbish artistry: it may constitute a real pre-text for the rights and dignity even infamous men and women deserve. (shrink)

In a single aphorism in The Gay Science, Nietzsche arrays “The Problem of the Artist” in a reticulated constellation. Addressing every member of the excluded grouping of disenfranchised “others,” Nietzsche turns to the destitution of a god of love keyed to the selfturning absorption of the human heart. His ultimate and irrecusably tragic project to restore the innocence of becoming requires the affirmation of the problem of suffering as the task of learning how to love. Nietzsche sees the eros (...) of art as what can teach us how to make things beautiful, desirable, lovable in the routine truth of reality: “When they are not.” The stumbling block for those of us paralyzed by impotence and frozen in a technological age of anxiety, longing for being not becoming (eternal youth), is that one can never possess but can only win great health, again and again (like erotic desire), because one gives it away again and again as sacrifice or affirmation without reserve: that is to say, with erotic artistry. (shrink)

In this paper, I consider pedagogical moments when the project of pedagogy is to _not understand_, as understanding would entail complicity with dehumanization. I explore the slipperiness of understanding and parse when understanding is helpful and when it reinscribes structures of dehumanization. I examine when it might be important in music education pedagogy to foster a refusal to understand, specifically in cases of extreme suffering that might occur in projects of dehumanization, atrocity, and genocide. Then, I explore the ethics embedded (...) in different forms of understanding and consider why not understanding is sometimes the ethical path and tease out the complexities of such refusals to understand. Subsequently, I focus on what music might contribute to this pedagogical approach. I then explore and critique empathy and the project of empathy in education. Ultimately, I consider the role of discomfort in music education to facilitate these kinds of refusals. I center the work of several scholars in this discussion: Sherene Razack (Dark threats and White knights: The Somalia Affair, peacekeeping, and the new imperialism University of Toronto Press Toronto, ON, 2004, Rev Educ Pedag Cult Stud 29 (4): 375-394, 2007), Megan Boler (Feeling power: Emotions and education. Routledge, New York, NY, 1999), Jennifer Geddes (Hypatia 18 (1):104-115, 2003), Charlotte Delbo (_Auschwitz and after_. Yale University Press, New Haven, 1995/2014), Hannah Arendt (Eichmann in Jerusalem: A report on the banality of evil. Penguin Books, New York, NY, 1963/2006), Marie Hållander (Ethics Educ 10(2): 175-185, 2015, Stud Philos Educ 38: 467–480, 2019), Barbara Applebaum (Being White, being good: White complicity, White moral responsibility, and social justice pedagogy. Lexington Books, New York 2010, White educators negotiating complicity: Roadblocks paved with good intentions. Lexington Books, New York, NY, 2022), and Liora Gubkin (Teach Theol Relig 18(2): 103–120, 2015). (shrink)

The gods, however, took pity on the human race, born to suffer as it was, and gave it relief in the form of religious festivals to serve as periods of rest from its labors. They gave us the Muses, with Apollo their leader, and Dionysus; by having these gods to share their holidays, men were to be made whole again . . .That Plato1 regarded music as an extremely powerful means to cultivate morality and good citizenship is well-known.2 In the (...) Laws we are told that musical license is the chief reason for political license, and in the Republic Socrates insists that music education is the greatest bulwark of a polis.3 The Platonic corpus is also peppered with striking suggestions that the well-educated soul is, above .. (shrink)

This chapter contains sections titled: Introduction Disability Accommodations Unfairness and the Motivation of Candidates Unfairness in Music Conservatoires Unfairness in 11‐Plus Selection Conclusion Notes References.

The Suffering of the Impassible God provides a major reconsideration of the notion of divine impassibility in patristic thought. The question whether, in what sense, and under what circumstances suffering may be ascribed to God runs as a golden thread through such major controversies as Docetism, Patripassianism, Arianism, and Nestorianism. It is commonly claimed that in these debates patristic theology fell prey to the assumption of Hellenistic philosophy about the impassibility of God and departed from the allegedly biblical view, according (...) to which God is passible. As a result, patristic theology is presented as claiming that only the human nature of Christ suffered, while the divine nature remained unaffected. Paul L. Gavrilyuk argues that this standard view misrepresents the tradition. In contrast, he construes the development of patristic thought as a series of dialectical turning points taken to safeguard the paradox of God's voluntary suffering in the flesh. For the Fathers the attribute of divine impassibility functioned in a restricted sense as an apophatic qualifier of all divine emotions and as an indicator of God's full and undiminished divinity. The Fathers at the same time admitted qualified divine passibility of the Son of God within the framework of the Incarnation. Gavrilyuk shows that the Docetic, Arian, and Nestorian alternatives represent different attempts at dissolving the paradox of the Incarnation. These three alternatives are alike in that they start with the presupposition of God's unrestricted impassibility: the Docetic view proposes to give up the reality of Christ's human experiences; the Arian position sacrifices Christ's undiminished divinity; while the Nestorian alternative isolates the experiences and sufferings of Christ's humanity from his Godhead. In contrast to these alternatives, the mind of the Church succeeded in keeping God's transcendence and undiminished divinity in tension with God's intimate involvement in human suffering. It is precisely because God's divinity and transcendence are never lost in suffering that the Incarnation becomes a genuine act of divine compassion, capable of transforming and healing the human condition. (shrink)

The Suffering of the Impassible God provides a major reconsideration of the issue of divine suffering and divine emotions in the early Church Fathers. Patristic writers are commonly criticized for falling prey to Hellenistic philosophy and uncritically accepting the claim that God cannot suffer or feel emotions. Gavrilyuk shows that this view represents a misreading of evidence. In contrast, he construes the development of patristic thought as a series of dialectical turning points taken to safeguard the paradox of God's voluntary (...) and salvific suffering in the Incarnation. (shrink)

BackgroundPerinatal bereavement is an event that greatly impacts the emotional, psychological, and psychosocial aspects of those who want to have a child.ObjectivesSince there are few studies on the psychological impact of the COVID-19 pandemic on couples grieving for perinatal loss, this research aimed to survey this experience.ParticipantsBetween 2020 and 2021, in Italian provinces highly affected by the COVID-19 pandemic, 21 parents participated: 16 mothers and 5 fathers, among which there were 4 couples.MethodsA mixed-method design was used through self-report questionnaires and (...) in-depth interviews. Accompanied by a sociodemographic form, the following questionnaires were administered: Prolonged Grief-13, the Parental Assessment of Paternal Affectivity, the Parental Assessment of Maternal Affectivity, the Dyadic Adjustment Scale short version, the Daily Spiritual Experiences Scale, and the Impact of Event Scale-Revised. The texts obtained through the in-depth interviews underwent thematic analysis.ResultsFifty per cent of participants suffered from Post-Traumatic Stress Disorders symptoms and 20% suffered from relational dyadic stress. Four areas of thematic prevalence emerged: psychological complexity of bereavement, the impact of the COVID-19, disenfranchisement vs. support, and spirituality and contact with the lost child. Participants interpreted their distress as related to inadequate access to healthcare services, and perceiving the pandemic restrictions to be responsible for less support and lower quality of care. Furthermore, they needed psychological help, and most of them were unable to access this service. Spirituality/religiosity did not help, while contact with the fetus and burial did.ConclusionIt is important to implement psychological services in obstetrics departments to offer adequate support, even in pandemic situations. (shrink)

On the Suffering of the World is a collection of the later aphoristic writings of Arthur Schopenhauer, known for their incisive, aphoristic style and dark, pessimistic view of human existence. Edited and with an introduction by Eugene Thacker, On the Suffering of the World comprises a core selection of Schopenhauer's later writings, gathered together for the first time in print. These texts, produced during the last decades of Schopenhauer's long life, reveal a unique kind of philosophy, expressed in a singular (...) style. Eschewing the tradition of dry, totalizing, academic philosophy prevalent during the time, Schopenhauer's later writings mark a shift towards a philosophy of aphorisms, fragments, anecdotes and observations, written in a literary style that is by turns antagonistic, resigned, confessional, and filled with all the fragile contours of an intellectual memoir. Here Schopenhauer allows himself to pose challenging questions regarding the fate of the human species, the role of suffering in the world, and the rift between self and world that increasingly has come to define human existence, to this day. It is these writings of Schopenhauer that later generations of artists, poets, musicians, and philosophers would identify as exemplifying the pessimism of their era, and perhaps of our own as well. On the Suffering of the World is presented with an introduction that places Schopenhauer's thought in its intellectual context, while also connecting it to contemporary concerns over climate change, the anthropocene, and the spectre of human extinction. The book also includes a bibliography and chronology of Schopenhauer's life. (shrink)

The global reality of suffering and death has always demanded an authentic theological response and impelled debate concerning Gods relationship to suffering, as well as the conceivability of the suffering of God. The scope and impact of this suffering in the last century have driven this debate to an acute pitch, demanding to know how one can speak rightly of God in view of the suffering that is inherent and inflicted in the cosmos. While in former ages, some looked to (...) an omnipotent and impassible deus ex machina in answer to this question, many contemporary theologians have revised their understanding of God in relation to the world. With these theologians, Gloria Schaab proposes that a viable response to cosmic suffering is the recognition that the triune Christian God participates in the very sufferings of the cosmos itself. She sets her argument within theology and science dialogue and specifically within the work of scientist-theologian Arthur Peacocke. Informed by the understandings of evolutionary science, grounded within a panentheistic paradigm of the God-world relationship, and rooted within the Christian theological tradition, this work contends that the understanding of the Triune God as intimately involved with the suffering of the cosmos is viable and efficacious in view of the suffering of the cosmos and its creatures. It develops a female procreative model of the creative suffering of the Triune God, an ecological ethics based on the midwife model of care, and a pastoral model of threefold differentiation of suffering in God as steps toward Christian praxis in response to the mystery of God within the pain, suffering, and death of cosmic existence and human experience. (shrink)

This study aims to reveal the Turkish religious music practices of Jawharism, a sect based on Qadiri and Rifai, founded in Bagcilar, Istanbul. The historical process of the establishment of Jawharism was firstly mentioned, and then the musical activities of the "Association for the Promotion and Sustenance of Sufi Music and Culture", which enabled it to spread in a cultural sense, were discussed. As a result of archives, interviews and observations, the relationship of Jawharism with music was determined, the types (...) of music performed in the dhikr and the compositions belonging to the lodge were identified. In addition, through the sound recordings and note archives obtained as a result of the research, the works specific to the lodge were arranged and notated, and it was aimed to introduce the Turkish religious music repertoire to new works. Genres such as salawat, imamet, tasbihât, istighfar, taravih composition, odes and hymns are performed in the lodge, and especially the compositions of salawats and tasbihâts in the maqam of uşşak, rast, hicaz and segah are sung specifically for the lodge. Meşk evenings are also organized and many hymns, suğl, tevşih, nefes, mersiye, etc. are practiced. Composed genres are performed. The problem of this study is, is the relationship between dhikr and music of Jawharism compatible? How is the statues of Jawharism in Turkish religious music?, Qualitative research methods such as source scanning, data collection, sampling, comparison and citing sources were used in our study determined as a method. We can express the importance of this study as the importance of Jawharism's relationship with music, as it used music effectively and trained many musicians and composers. (shrink)

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, a (...) cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction. (shrink)

The traditional verbal/nonverbal dichotomy is inadequate for completely describing cerebral lateralization. Musical functions are not necessarily mediated by the right hemisphere; evidence for a specialist left-hemisphere mechanism dedicated to the encoded speech signal is weakening, and the right hemisphere possesses considerable comprehensional powers. Right-hemisphere processing is often said to be characterized by holistic or gestalt apprehension, and face recognition may be mediated by this hemisphere partly because of these powers, partly because of the right hemisphere's involvement in emotional affect, and (...) possibly through the hypothesized existence of a specialist face processor or processors in the right. The latter hypothesis may, however, suffer the same fate as the one relating to a specialist encodedness processor for speech in the left. Verbal processing is largely the province of the left because of this hemisphere's possession of sequential, analytic, time-dependent mechanisms. Other distinctions are special cases of an analytic/holistic dichotomy. More fundamentally, however, the left hemisphere is characterized by its mediation of discriminations involving duration, temporal order, sequencing, and rhythm, at thesensory level, and especially at themotorlevel. Spatial aspects characterize the right, the mapping of exteroceptive body space, and the positions of fingers, limbs, and perhaps articulators, with respect to actual and target positions. Thus there is a continuum of function between the hemispheres, rather than a rigid dichotomy, the differences being quantitative rather than qualitative, of degree rather than of kind. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and (...) made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Glitch composition is a meta-discursive practice: rather than writing new music inspired by older recordings, it constructs new music inspired by the technological conditions and limitations in which those recordings emerged. For those listeners who aren’t particularly interested in technology theories, such music is particularly alienating—an in-joke that one doesn’t get. When glitch becomes pop, it loses its theoretical savvy, replacing the “synth pad” in a contemporary pop song. Glitch’s subversion of the bad value judgment placed on damaged media is (...) only a partial one—as scratched CDs (whether they be glitch ones or not) remain economically worthless commodities. (shrink)

The roots and evolution of two concepts usually thought to be Western in origin-musica mundana (the music of the spheres) and musica humana (music's relation to the human soul)-are explored. Beginning with a study of the early creeds of the Near East, Professor Meyer-Baer then traces their development in the works of Plato and the Gnostics, and in the art and literature of the Middle Ages and the Renaissance. Previous studies of symbolism in music have tended to focus on a (...) single aspect of the problem. In this book the concepts of musica humana and musica mundane are related to philosophy, aesthetics, and the history of religion and are given a rightful place in the history of civilization. Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Sentiment analysis is one of the important tasks of online opinion analysis and an important means to guide the direction of online opinion and maintain social stability. Due to the multiple characteristics of linguistic expressions, ambiguity, multiple meanings of words, and the increasing speed of new words, it is a great challenge for the task of text sentiment analysis. Commonly used machine learning methods suffer from inadequate text feature extraction, and the emergence of deep learning has brought a turnaround for (...) this purpose. In this paper, we investigate the problem of text sentiment analysis using methods related to deep learning. In order to incorporate user and product information in a more diverse way in the model, this paper proposes a model based on a deep bidirectional long-and short-term memory network-self-attention mechanism-custom classifier. The model first identifies contextual associations and acquires deep text features through a deep bidirectional long- and short-term memory network and then captures important features in the text using a self-attentive mechanism. The model finally combines user information and product information to build a custom classifier module and uses context-aware attention mechanisms to assign specific parameters to user information and product information, which improves the performance of the model on public datasets compared with current common models. The results show that the accuracy of the algorithm in this paper is high, and it is about 5% lower than the traditional algorithm. The method can reduce the number of iterations and the running time of the algorithm. (shrink)