Results for 'Jewish Music'

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  1. Music Critics and Aestheticians Are, on the Surface, Advocates and Guardians of Good Music. But What Exactly is “Good”.Pop Music - 2004 - In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge. pp. 62.
     
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  2. “I Like Bad Music.” That's My Usual Response to People Who Ask Me About My Musi.Rock Critics Need Bad Music - 2004 - In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge.
     
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  3.  1
    Prosodic Rhythm in Jewish Sacred Music : Examples from the Persian-Speaking World.Evan Rapport - forthcoming - Rhuthmos.
    This text has already been published in Asian Music, vol. 47, n° 1, Winter/Spring 2016, University of Texas Press, pp. 64-102.: Musical rhythms are connected to prosodic principles in many Jewish sacred music practices. For Persian-speaking Jews of Iran and Central Asia, rhythms are especially informed by ingrained habits of interpreting Persian quantitative poetic meters, applied to both Hebrew- and Persian-language texts. For describing and analyzing Jewish sacred music in - Poétique et Études littéraires – (...)
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  4. Spaces of Encounter. From the Desert to the City and Back: Nomads and the Spaces of Goethe's West-Östlicher Divan [West-Eastern Divan, 1819/1827] / Kamaal Haque ; Not All Who Wander Are Lost: Alfred Döblin's Reise in Polen [Journey to Poland, 1925] / June J. Hwang ; The Feminine Topography of Zion: Mapping Gertrud Kolmar's Poetic Imagination / Carola Daffner ; Jewish Colonia as Heimat in the Pampas: Robert Schopflocher's Explorations of Thirdspace in Argentina / Will Lehman ; Rewriting Home and Migration: Spatiality in the Narratives of Emine Sevgi Özdamar / Silke Schade ; Transcultural Space and Music: Fatih Akin's Crossing the Bridge: The Sound of Istanbul (2005). [REVIEW]Barbara Kosta - 2010 - In Jaimey Fisher & Barbara Caroline Mennel (eds.), Spatial Turns: Space, Place, and Mobility in German Literary and Visual Culture. Rodopi.
     
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  5.  25
    Jewish Identities: Nationalism, Racism, and Utopianism in Twentieth-Century Music.Marina Ritzarev - 2013 - The European Legacy 18 (7):1-2.
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  6.  7
    Beauty in Holiness: Studies in Jewish Customs and Ceremonial ArtThe Art of AustraliaInternational Review of Music Aesthetics and Sociology I, No. 1 The Rise of an American ArchitectureAmerican Architecture and Urbanism.Sadayoshi Omoto, Joseph Gutmann, Robert Hughes & Edgar Kaufmann - 1971 - Journal of Aesthetics and Art Criticism 29 (3):427.
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  7. Cristianismo y judaísmo en la vida de Abdías, el prosélito normando, a través de la profecía de Joel.Sylvie Denise García de la Calle - 2012 - 'Ilu. Revista de Ciencias de Las Religiones 17:41-57.
    In the Cairo Genizah were manuscripts with Gregorian notation and Hebrew script. They also appeared documents that point to author of the scores at Giovanni-Obadiah, a twelfth century Christian monk, born in southern Italy, who converted to Judaism. Until now, the study of this personage has been realized almost exclusively from the Jewish point of view. Nevertheless, like Obadiah synthesizes the traditions Christian and Jewish in its notation when copying Hebrew melodies with Christian notation, also it does in (...)
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  8.  7
    Is Copyright Property? -- The Debate in Jewish Law.David Nimmer & Neil W. Netanel - 2011 - Theoretical Inquiries in Law 12 (1):241-274.
    Is copyright a property right? Common law and civil law jurists have debated that issue for over three centuries. It remains at the heart of battles over copyright’s scope and duration today, even if its import lies principally in the rhetorical force of labeling a right as "property," not in any doctrinal consequence flowing directly from that label. In parallel to their common law and civil law counterparts, presentday rabbinic jurists engage in lively debate about whether Jewish law recognizes (...)
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  9. Four Jews on Parnassus--A Conversation: Benjamin, Adorno, Scholem, Schönberg [with Music Cd].Carl Djerassi & Gabriele Seethaler - 2008 - Cambridge University Press.
    _This book features a CD of rarely performed music, including a specially commissioned rap by Erik Weiner of Walter Benjamin's "Thesis on the Philosophy of History." _ Theodor W. Adorno was the prototypical German Jewish non-Jew, Walter Benjamin vacillated between German Jew and Jewish German, Gershom Scholem was a committed Zionist, and Arnold Schönberg converted to Protestantism for professional reasons but later returned to Judaism. Carl Djerassi, himself a refugee from Hitler's Austria, dramatizes a dialogue between these (...)
     
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  10. Sideways Music.Ned Markosian - 2019 - Analysis (1):anz039.
    There is a popular theory in the metaphysics of time according to which time is one of four similar dimensions that make up a single manifold that is appropriately called spacetime. One consequence of this thesis is that changing an object’s orientation in the manifold does not change its intrinsic features. In this paper I offer a new argument against this popular theory. I claim that an especially good performance of a particularly beautiful piece of music, when oriented within (...)
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  11. Music Practice and Participation for Psychological Well-Being: A Review of How Music Influences Positive Emotion, Engagement, Relationships, Meaning, and Accomplishment.Adam M. Croom - 2015 - Musicae Scientiae: The Journal of the European Society for the Cognitive Sciences of Music 19:44-64.
    In “Flourish,” Martin Seligman maintained that the elements of well-being consist of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes human flourishing or psychological well-being has remained a topic of continued debate among scholars, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would largely manifest most or all of the aforementioned PERMA factors. Further, in “A Neuroscientific Perspective on Music Therapy,” Stefan Koelsch also (...)
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  12. Music as Affective Scaffolding.Joel Krueger - forthcoming - In David Clarke, Ruth Herbert & Eric Clarke (eds.), Music and Consciousness II. Oxford: Oxford University Press.
    For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. I argue that music is a beyond-the-head resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. I focus on music’s capacity to scaffold emotional consciousness, including the self-regulative processes (...)
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  13. Using the Persona to Express Complex Emotions in Music.Tom Cochrane - 2010 - Music Analysis 29 (1-3):264-275.
    This article defends a persona theory of musical expressivity. After briefly summarising the major arguments for this view, it applies persona theory to the issue of whether music can express complex emotions. The expression of jealousy is then discussed by analysis of two examples from Piazzolla and Janacek.
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  14.  64
    Jewish Survival, Divine Supervision, and the Existence of God.Moti Mizrahi - 2012 - Shofar: An Interdisciplinary Journal of Jewish Studies 30 (4):100-112.
    In this paper, I discuss an argument for the existence of God known as “The Argument from the Survival of the Jews.” This argument has the form of an Inference to the Best Explanation (IBE). It proceeds from the phenomenon of Jewish survival to the existence of God as the best explanation for this phenomenon. I will argue that, even if we grant that Jewish survival is a remarkable occurrence that demands an explanation, and even if we gloss (...)
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  15. Legg-Hutter Universal Intelligence Implies Classical Music is Better Than Pop Music for Intellectual Training.Samuel Alexander - 2019 - The Reasoner 13 (11):71-72.
    In their thought-provoking paper, Legg and Hutter consider a certain abstrac- tion of an intelligent agent, and define a universal intelligence measure, which assigns every such agent a numerical intelligence rating. We will briefly summarize Legg and Hutter’s paper, and then give a tongue-in-cheek argument that if one’s goal is to become more intelligent by cultivating music appreciation, then it is bet- ter to use classical music (such as Bach, Mozart, and Beethoven) than to use more recent pop (...)
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  16. Thoughtwriting—in Poetry and Music.Kendall Walton - 2011/2015 - In Kendall L. Walton (ed.), In Other Shoes: Music, Metaphor, Empathy, Existence. Oxford University Press. pp. 54-74.
    Poetry is a literary art, and is often examined alongside the novel, stories, and theater. But poetry, much of it, has more in common with music, in important respects, than with other forms of literature. The emphasis on sound and rhythm in both poetry and music is obvious, but I will explore a very different similarity between them. All or almost all works of literary fiction have narrators—so it is said anyway—characters who, in the world of the fiction, (...)
     
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  17.  13
    Pragmatism and Jewish Thought: Eliezer Berkovits’s Philosophy of Halakhic Fallibility.Nadav Berman Shifman - 2019 - Journal of Jewish Thought and Philosophy 27 (1):86-135.
    In classical American pragmatism, fallibilism refers to the conception of truth as an ongoing process of improving human knowledge that is nevertheless susceptible to error. This paper traces appearances of fallibilism in Jewish thought in general, and particularly in the halakhic thought of Eliezer Berkovits. Berkovits recognizes the human condition’s persistent mutability, which he sees as characterizing the ongoing effort to interpret and apply halakhah in shifting historical and social contexts as Torat Ḥayyim. In the conclusion of the article, (...)
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  18.  65
    Music and Pain.Andreas Dorschel - 2011 - In Jane Fulcher (ed.), The Oxford Handbook of the New Cultural History of Music. Oxford University Press. pp. 68-79.
    Ancient mythology related music to pain in a twofold way. Pain is the punishment inflicted for producing inferior music: the fate of Marsyas; music is sublimation of pain: the achievement of Orpheus and of Philomela. Both aspects have played defining roles in Western musical culture. Pain’s natural expression is the scream. To be present in music at all, pain needs to be transformed. So even where music expresses pain, at the same time it appeases that (...)
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  19.  29
    Touching God: Vertigo, Exactitude, and Degrees of Devekut in the Contemporary Nondual Jewish Mysticism of R. Yitzhaq Maier Morgenstern.Aubrey L. Glazer - 2011 - Journal of Jewish Thought and Philosophy 19 (2):147-192.
    Whether extrovertive, introvertive, or some further hybrid, the process of the soul touching the fullness of its divine origins is itself undergoing transformation in the twenty-first-century cultural matrices of Israel. A remarkable exemplar of devotional Hebrew cultures can be found within the hybrid networks of haredi worlds in Israel today. R. Yitzhaq Maier Morgenstern, author of Yam ha-okhmah, Netiv ayyim, and De'i okhmah le-nafshekha, is arguably the most innovative mystical voice in Israel. Why are his works resonating so strongly both (...)
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    The Heteronomy of Modern Jewish Philosophy.Michael Zank - 2012 - Journal of Jewish Thought and Philosophy 20 (1):99-134.
    Abstract Proceeding from Jewish philosophy's origins in the convergence and divergence of Greek and Jewish thought and the resulting possibilities of construing Judaism and philosophy as heterogeneous or homogeneous, and ranging across the three major “ages“ or linguistic matrices of Jewish philosophizing (Hellenistic, Judeo-Arabic, and Germanic), the essay describes Jewish philosophy as an unresolvable entanglement in a dialectic of heteronomy and autonomy.
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  21.  25
    Recontextualizing Kaufmann: His Empirical Conception of the Bible and Its Significance in Jewish Intellectual History.Job Y. Jindo - 2011 - Journal of Jewish Thought and Philosophy 19 (2):95-129.
    This essay revisits the significance of Kaufmann's Toledot ha-emunah ha-yisre'elit in Jewish intellectual history, as its reception has hitherto been somewhat reductive. His work is generally viewed as an anti-Christian polemic with a Zionist agenda that sought to glorify the formative period of his people. A closer look at his intellectual background, as well as his theoretical framework, leads us to a different understanding of his work in general and of its alleged nationalistic features in particular. The essay shows, (...)
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  22.  6
    From “Jewish Memory” to Jewish History.Robert Chazan - 2017 - Journal of Jewish Thought and Philosophy 25 (2):279-304.
    _ Source: _Volume 25, Issue 2, pp 279 - 304 In his influential _Zakhor: Jewish History and Jewish Memory_, Yosef Hayim Yerushalmi analyzed brilliantly the transition in Jewish conceptions of Jewish history from premodern to modern times. The present paper discusses a number of alternative perspectives on this transition. Yerushalmi argued convincingly the importance of the traditional conception of Jewish history, which he labeled “Jewish memory,” for Jewish survival. This paper challenges the terminology, (...)
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  23. ‘The Golden Chain of Pious Rabbis’: The Origin and Development of Finnish Jewish Orthodoxy.Simo Muir & Riikka Tuori - 2019 - Nordisk judaistik/Scandinavian Jewish Studies 30 (1):8-34.
    This article provides the first historiographical analysis of the origins of Jewish Orthodoxy in Helsinki and describes the development of the rabbinate from the establishment of the congregation in the late 1850s up to the early 1980s. The origins of the Finnish Jewish community lies in the nineteenth-century Russian army. The majority of Jewish soldiers in Helsinki originated from the realm of Lithuanian Jewish culture, that is, mainly non-Hasidic Jewish Orthodoxy that emerged in the late (...)
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  24. Emotional Responses to Music: The Need to Consider Underlying Mechanisms.Patrik N. Juslin & Daniel Västfjäll - 2008 - Behavioral and Brain Sciences 31 (5):559-575.
    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, (...)
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  25.  44
    Measure for Measure: Wittgenstein's Critique of the Augustinian Picture of Music.Eran Guter - 2019 - In Hanne Appelqvist (ed.), Wittgenstein and the Limits of Language. London: Routledge. pp. 245-269.
    This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion of pure memory-time (...)
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  26.  30
    Music and Multimodal Mental Imagery.Bence Nanay - forthcoming - In Music and Mental Imagery. London: Routledge.
    Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery plays a crucial role in our engagement with (...)
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  27. The Aesthetics of Music.Roger Scruton - 1997 - Oxford University Press.
    What is music, what is its value, and what does it mean? In this stimulating volume, Roger Scruton offers a comprehensive account of the nature and significance of music from the perspective of modern philosophy. The study begins with the metaphysics of sound. Scruton distinguishes sound from tone; analyzes rhythm, melody, and harmony; and explores the various dimensions of musical organization and musical meaning. Taking on various fashionable theories in the philosophy and theory of music, he presents (...)
  28. Doing Things with Music.Joel W. Krueger - 2011 - Phenomenology and the Cognitive Sciences 10 (1):1-22.
    This paper is an exploration of how we do things with music—that is, the way that we use music as an esthetic technology to enact micro-practices of emotion regulation, communicative expression, identity construction, and interpersonal coordination that drive core aspects of our emotional and social existence. The main thesis is: from birth, music is directly perceived as an affordance-laden structure. Music, I argue, affords a sonic world, an exploratory space or nested acoustic environment that further affords (...)
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  29. Works of Music: An Essay in Ontology.Julian Dodd - 2007 - Oxford University Press.
    Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered (...)
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  30. Music and Vague Existence.David Friedell - 2017 - Res Philosophica 94 (4):437-449.
    I explain a tension between musical creationism and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an instance of a general problem raised by artifacts, both (...)
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  31. To Think or Not To Think: The Apparent Paradox of Expert Skill in Music Performance.Andrew Geeves, Doris J. F. McIlwain, John Sutton & Wayne Christensen - 2013 - Educational Philosophy and Theory (6):1-18.
    Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. (...)
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  32. Feminist Aesthetics, Popular Music, and the Politics of the 'Mainstream'.Robin James - 2011 - In L. Ryan Musgrave (ed.), Feminist Aesthetics and Philosophy of Art. Springer.
    While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its own limitations (...)
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  33.  51
    The Philosophy of Music: Theme and Variations.Aaron Ridley - unknown
    Ridley's book is both an introduction to philosophy of music generally and an introduction to an individual, pungently flavoured philosophy of music. His arguments are lively and provocative, and to boot, he writes like a dream. This is the kind of book that reminds one why philosophy matters, especially as applied to the things we love most.-Jerrold Levinson, professor of philosophy, University of Maryland This outstanding book provides new and distinctive approaches to the five central topics of musical (...)
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  34.  32
    Creating Time: Social Collaboration in Music Improvisation.Ashley E. Walton, Auriel Washburn, Peter Langland-Hassan, Anthony Chemero, Heidi Kloos & Michael J. Richardson - 2018 - Topics in Cognitive Science 10 (1):95-119.
    Musical collaboration emerges from the complex interaction of environmental and informational constraints, including those of the instruments and the performance context. Music improvisation in particular is more like everyday interaction in that dynamics emerge spontaneously without a rehearsed score or script. We examined how the structure of the musical context affords and shapes interactions between improvising musicians. Six pairs of professional piano players improvised with two different backing tracks while we recorded both the music produced and the movements (...)
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  35. The Antecedents of Music Piracy Attitudes and Intentions.Jyh-Shen Chiou, Chien-yi Huang & Hsin-hui Lee - 2005 - Journal of Business Ethics 57 (2):161-174.
    Piracy is the greatest threat facing the music industry worldwide today. This study developed and empirically tested a model examining the antecedents of consumer attitude and behavioral intention toward music piracy behavior. Two types of music piracy behavior, unauthorized duplication/download and pirated music product purchasing, were examined. Based on a field survey in Taiwan, the results showed that attributive satisfaction, perceived prosecution risk, magnitude of consequence, and social consensus are very important in influencing customers attitude and (...)
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  36. The Sound of Music: Externalist Style.Luke Kersten & Robert A. Wilson - 2016 - American Philosophical Quarterly 53 (2):139-154.
    Philosophical exploration of individualism and externalism in the cognitive sciences most recently has been focused on general evaluations of these two views (Adams & Aizawa 2008, Rupert 2008, Wilson 2004, Clark 2008). Here we return to broaden an earlier phase of the debate between individualists and externalists about cognition, one that considered in detail particular theories, such as those in developmental psychology (Patterson 1991) and the computational theory of vision (Burge 1986, Segal 1989). Music cognition is an area in (...)
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  37. Nigerian Music and the Black Diaspora in the USA : African Identity, Black Power, and the Free Jazz of the 1960s.Martin A. M. Gansinger & Ayman Kole - 2016 - In Martin A. M. Gansinger & Ayman Kole (eds.), From Tribal to Digital - Effects of Tradition and Modernity on Nigerian Media and Culture. Scholars Press. pp. 15-44.
    This article is the attempt of an historically oriented analysis focused on the role of Nigerian music as a cultural hub for the export of African cultural influences into the Black diaspora in the United States and its anticipation by the Free Jazz/Avantgarde-scene as well as the import of key-values related to the Black Power-movement to the African continent. The aim is to demonstrate the leading role and international impact of Nigeria's cultural industry among sub-saharan African nation states and (...)
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  38. On the Ancient Idea That Music Shapes Character.James Harold - 2016 - Dao: A Journal of Comparative Philosophy 15 (3):341-354.
    Ancient Chinese and Greek thinkers alike were preoccupied with the moral value of music; they distinguished between good and bad music by looking at the music’s effect on moral character. The idea can be understood in terms of two closely related questions. Does music have the power to affect the ethical character of either listener or performer? If it does, is it better as music for doing so? I argue that an affirmative answers to both (...)
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  39. Music and Cognitive Extension.Luke Kersten - 2014 - Empirical Musicology Review 9 (3-4):193-202.
    Extended cognition holds that cognitive processes sometimes leak into the world (Dawson, 2013). A recent trend among proponents of extended cognition has been to put pressure on phenomena thought to be safe havens for internalists (Sneddon, 2011; Wilson, 2010; Wilson & Lenart, 2014). This paper attempts to continue this trend by arguing that music perception is an extended phenomenon. It is claimed that because music perception involves the detection of musical invariants within an “acoustic array”, the interaction between (...)
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  40. Emotion and Meaning in Music.Leonard B. Meyer - 1956 - University of Chicago Press.
    Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...
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  41. Music as Atmosphere. Lines of Becoming in Congregational Worship.Friedlind Riedel - 2015 - Lebenswelt. Aesthetics and Philosophy of Experience 6:80-111.
    In this paper I offer critical attention to the notion of atmosphere in relation to music. By exploring the concept through the case study of the Closed Brethren worship services, I argue that atmosphere may provide analytical tools to explore the ineffable in ecclesial practices. Music, just as atmosphere, commonly occupies a realm of ineffability and undermines notions such as inside and outside, subject and object. For this reason I present music as a means of knowing the (...)
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  42. Music, Neuroscience, and the Psychology of Wellbeing: A Précis.Adam M. Croom - 2012 - Frontiers in Theoretical and Philosophical Psychology 2 (393):393.
    In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted (...)
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  43.  33
    Music and Dance as a Coalition Signaling System.Edward H. Hagen & Gregory A. Bryant - 2003 - Human Nature 14 (1):21-51.
    Evidence suggests that humans might have neurological specializations for music processing, but a compelling adaptationist account of music and dance is lacking. The sexual selection hypothesis cannot easily account for the widespread performance of music and dance in groups (especially synchronized performances), and the social bonding hypothesis has severe theoretical difficulties. Humans are unique among the primates in their ability to form cooperative alliances between groups in the absence of consanguineal ties. We propose that this unique form (...)
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  44.  61
    Music, Neuroscience, and the Psychology of Well-Being: A Précis.Adam M. Croom - 2012 - Frontiers in Psychology 2:393.
    In Flourish, the positive psychologist Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or well-being: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted to (...)
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  45. Music and Language Perception: Expectations, Structural Integration, and Cognitive Sequencing.Barbara Tillmann - 2012 - Topics in Cognitive Science 4 (4):568-584.
    Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, (...)
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  46. Wittgenstein, Modern Music, and the Myth of Progress.Eran Guter - 2017 - In Ilkka Niiniluoto & Thomas Wallgren (eds.), On the Human Condition – Essays in Honour of Georg Henrik von Wright’s Centennial Anniversary, Acta Philosophica Fennica vol. 93. Helsinki: Societas Philosophica Fennica. pp. 181-199.
    Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...)
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  47. Introduction to a Philosophy of Music.Peter Kivy - 2002 - Clarendon Press.
    Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the center of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction to some (...)
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  48. Cognition and the Evolution of Music: Pitfalls and Prospects.Henkjan Honing & Annemie Ploeger - 2012 - Topics in Cognitive Science 4 (4):513-524.
    What was the role of music in the evolutionary history of human beings? We address this question from the point of view that musicality can be defined as a cognitive trait. Although it has been argued that we will never know how cognitive traits evolved (Lewontin, 1998), we argue that we may know the evolution of music by investigating the fundamental cognitive mechanisms of musicality, for example, relative pitch, tonal encoding of pitch, and beat induction. In addition, we (...)
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  49.  48
    “A Small, Shabby Crystal, yet a Crystal”: A Life of Music in Wittgenstein’s Denkbewegungen.Eran Guter - 2019 - In B. Sieradzka-Baziur, I. Somavilla & C. Hamphries (eds.), Wittgenstein's Denkbewegungen. Diaries 1930-1932/1936-1937: Interdisciplinary Perspectives. Innsbruck, Austria: StudienVerlag. pp. 83-112.
    Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical (...)
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    Ethical Decisions About Sharing Music Files in the P2P Environment.Rong-An Shang, Yu-Chen Chen & Pin-Cheng Chen - 2008 - Journal of Business Ethics 80 (2):349-365.
    Digitized information and network have made an enormous impact on the music and movie industries. Internet piracy is popular and has greatly threatened the companies in these industries. This study tests Hunt-Vitell’s ethical decision model and attempts to understand why and how people share unauthorized music files with others in the peer-to-peer (P2P) network. The norm of anti-piracy, the ideology of free software, the norm of reciprocity, and the ideology of consumer rights are proposed as four deontological norms (...)
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