A concert pianist the second author videotaped herself learning J.S. Bach's Italian Concerto Presto , and commented on the problems she encountered as she practised. Approximately two years later the pianist wrote out the first page of the score from memory. The pianist's verbal reports indicated that in the early sessions she identified and memorised the formal structure of the piece, and in the later sessions she practised using this organisation to retrieve the memory cues that controlled her playing. The (...) practice and recall data supported this account. Both were organised by the formal structure of the music. Practice segments were more likely to start and stop at boundaries of the formal structure than at other locations, and recall was higher for the beginnings of sections than for later portions. Like other forms of expert memory, pianistic memory appears to be based on use of a highly practised retrieval scheme which permits rapid retrieval of information from long-term memory. (shrink)

A taxonomy of part‐whole or meronymic relations is developed to explain the ordinary English‐speaker's use of the term “part of” and its cognates. The resulting classification yields six types of meronymic relations: 1. component‐integral object (pedal‐bike), 2. member‐collection (ship‐fleet), 3. portion‐mass (slice‐pie), 4. stuff‐object (steel‐car), 5. feature‐activity (paying‐shopping), and 6. place‐area (Everglades‐Florida). Meronymic relations ore further distinguished from other inclusion relations, such as spatial inclusion, and class inclusion, and from several other semantic relations: attribution, attachment, and ownership. This taxonomy is (...) then used to explain cases of apparent intransitivity in merological syllogisms, and standard form syllogisms whose premises express different inclusion relations. The data suggest that intransitivities arise due to equivocations between different types of semantic relations. These results are then explained by means of the relation element theory which accounts for the character and behavior of semantic relations in terms of more primitive relational elements. The inferential phenomena observed are then explained by means of a single principle of element matching. (shrink)

A taxonomy of part‐whole or meronymic relations is developed to explain the ordinary English‐speaker's use of the term “part of” and its cognates. The resulting classification yields six types of meronymic relations: 1. component‐integral object (pedal‐bike), 2. member‐collection (ship‐fleet), 3. portion‐mass (slice‐pie), 4. stuff‐object (steel‐car), 5. feature‐activity (paying‐shopping), and 6. place‐area (Everglades‐Florida). Meronymic relations ore further distinguished from other inclusion relations, such as spatial inclusion, and class inclusion, and from several other semantic relations: attribution, attachment, and ownership. This taxonomy is (...) then used to explain cases of apparent intransitivity in merological syllogisms, and standard form syllogisms whose premises express different inclusion relations. The data suggest that intransitivities arise due to equivocations between different types of semantic relations. These results are then explained by means of the relation element theory which accounts for the character and behavior of semantic relations in terms of more primitive relational elements. The inferential phenomena observed are then explained by means of a single principle of element matching. (shrink)

Necessary inferences (e.g., The jury was not able to deliver its verdict by 3 o'clock. The jury did not deliver its verdict by 3 o'clock.) depend on linguistic knowledge. Invited inferences, (e.g., The jury was able to deliver its verdict by 3 o'clock. The jury delivered its verdict by 3 o'clock) depend on knowledge about the world. Responses were faster to necessary than to invited inferences when subjects verified only one of the two inference types (Experiments 1 and 3). When (...) subjects verified both inference types there was no difference between invited and necessary inferences (Experiments 2 and 4). These data suggest that linguistic and world knowledge are psychologically distinct and that when factual knowledge is not needed in a task it is not processed. In Experiments 3 and 4 incongruent world knowledge slowed response times for both inference types. This suggests that linguistic and factual knowledge are both port of the initial representation of a sentence. (shrink)

Musicians generally believe that memory differs from one person to the next. As a result, memorizing strategies that could be useful to almost everyone are not widely taught. We describe how an 18-years old piano student (Grade 7, ABRSM), learned to memorize by recording her thoughts, a technique inspired by studies of how experienced soloists memorize. The student, who had previously ignored suggestions that she play from memory, decided to learn to memorize, selecting Schumann’s “Der Dichter Spricht” for this purpose. (...) Rather than explicitly teaching the student how to memorize, the teacher taught her to record her thoughts while playing by marking them on copies of the score, adapting an approach used previously in research with experienced performers. Over a 6½ week period, the student recorded her thoughts during practice (five times) and while performing from memory for the teacher (three times). The student also video-recorded 3 weeks of practice, three performances, and the reconstruction of the piece from memory after a 9½-weeks break. The thoughts that the student reported were prepared during practice, stable over time, and functioned as memory retrieval cues during reconstruction. This suggests that the student memorized in the same way as the more experienced musicians who have been studied previously and that teaching student musicians to record their thoughts may be an effective way to help them memorize. The speed and durability of her memorization surprised the student, inspiring her to perform in public and to use the same technique for new pieces. (shrink)

ResumoEste artigo analisa o reendereçamento da obra Fita verde no cabelo: nova velha estória ao público infantojuvenil. Em 1992, o conto de Guimarães Rosa foi reeditado pela Nova Fronteira, contando com novo projeto gráfico e com as ilustrações de Roger Mello, em edição dedicada ao público jovem. Além de observar o modo como a obra busca o diálogo com esse público em níveis textuais e imagéticos, o estudo concentra-se na análise das ilustrações. Verifica-se a hipótese de que as imagens, (...) em vez de apenas facilitarem a leitura para um público específico, expandem o sentido da obra original contemplando todos os públicos. Como resultado, demonstra-se a potência das imagens e sua capacidade de enriquecer a experiência de leitura do conto de Rosa.Palavras-chave: João Guimarães Rosa. Reendereçamento. Ilustração. AbstractThis article analyzes the readdressing of the work Fita verde no cabelo: nova velha estória to youth literature. In 1992, Guimarães Rosa's short story was reissued by Nova Fronteira. The book had a new graphic project by Roger Mello. This study focuses not only on how the story is looking for dialogue with the young audience in written-text and visual-image levels, but also in the analysis of illustrations. We verify the hypothesis that the images do not facilitate the reading process for a specific audience, for they are in turn ways to expand the meanings of the original work. The potential of those images is demonstrated along with their capacity to enrich the reading experience of Rosa's short story.Keywords: João Guimarães Rosa. Readdressing. Illustration. (shrink)

How do concert pianists commit to memory the structure of a piece of music like Bach’s Italian Concerto, learning it well enough to remember it in the highly charged setting of a crowded performance venue, yet remaining open to the freshness of expression of the moment? Playing to this audience, in this state, now, requires openness to specificity, to interpretation, a working dynamicism that mere rote learning will not provide. Chaffin, Imreh and Crawford’s innovative and detailed research suggests (...) that the key to this skill is a declarative mental roadmap aiding musical performance. This hypothesis is neatly and unintentionally summarized by professional pianist Imreh, who states when learning a new piece of music “My fingers were playing the notes just fine. The practice I needed was in my head. I had to learn to keep track of where I was. It was a matter of learning exactly what I needed to be thinking of as I played, and at exactly what point. (shrink)

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. For Chaffin, expert skill in music performance relies solely upon overarching mental representations, while, for Dreyfus, such representations are needed only by novices, while experts rely on a more embodied form of coping. Between Chaffin and Dreyfus sit the Noices, who argue that both overarching cognitive structures and embodied processes underlie expert skill. We then present the Applying Intelligence to the Reflexes approach—a differently nuanced model of expert skill aligned with the integrative spirit of the Noices’ research. The AIR approach suggests that musicians negotiate the apparent paradox of expert skill via a mindedness that allows flexibility of attention during music performance. We offer data from recent doctoral research conducted by the first author of this article to demonstrate at a practical level the usefulness of the AIR approach when attempting to understand the complexities of expert skill in music performance. (shrink)

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. For Chaffin, expert skill in music performance relies solely upon overarching mental representations, while, for Dreyfus, such representations are needed only by novices, while experts rely on a more embodied form of coping. Between Chaffin and Dreyfus sit the Noices, who argue that both overarching cognitive structures and embodied processes underlie expert skill. We then present the Applying Intelligence to the Reflexes (AIR) approach?a differently nuanced model of expert skill aligned with the integrative spirit of the Noices? research. The AIR approach suggests that musicians negotiate the apparent paradox of expert skill via a mindedness that allows flexibility of attention during music performance. We offer data from recent doctoral research conducted by the first author of this article to demonstrate at a practical level the usefulness of the AIR approach when attempting to understand the complexities of expert skill in music performance. (shrink)

How do concert pianists commit to memory the structure of a piece of music like Bach’s Italian Concerto, learning it well enough to remember it in the highly charged setting of a crowded performance venue, yet remaining open to the freshness of expression of the moment? Playing to this audience, in this state, now, requires openness to specificity, to interpretation, a working dynamicism that mere rote learning will not provide. Chaffin, Imreh and Crawford’s innovative and detailed research suggests (...) that the key to this skill is a declarative mental roadmap aiding musical performance. This hypothesis is neatly and unintentionally summarized by professional pianist Imreh, who states when learning a new piece of music “My fingers were playing the notes just fine. The practice I needed was in my head. I had to learn to keep track of where I was. It was a matter of learning exactly what I needed to be thinking of as I played, and at exactly what point. . .” (Chaffin & Imreh 1997, p.326). (shrink)

From Thomas Hobbes to Jeremy Bentham, 'British Moralists' have questioned whether being virtuous makes you happy. Roger Crisp elucidaties their views on happiness and virtue, self-interest and sacrifice, and well-being and morality, and highlights key themes such as psychological egoism, evaluative hedonism, and moral reason in their thought.

Nobel laureate Erwin Schrödinger's What is Life?, one of the great science classics of the twentieth century appears here together with Mind and Matter.

W. V. Quine was quite simply the most distinguished analytic philosopher of the later half of the twentieth century. His celebrated attack on the analytic/synthetic tradition heralded a major shift away from the views of language descended from logical positivism. His most important book, Word and Object, introduced the concept of indeterminacy of radical translation, a bleak view of the nature of the language with which we ascribe thoughts and beliefs to ourselves and others. Quine is also famous for the (...) view that epistemology should be naturalized, that is conducted in a scientific spirit with the object of investigating the relationship between the inputs of experience and the outputs of belief. The eleven essays in this volume cover all the central topics of Quine's philosophy: the underdetermination of physical theory, analycity, naturalism, propositional attitudes, behaviorism, reference and ontology, positivism, holism and logic. (shrink)

Elizabeth Anscombe is now recognised as one of the most important philosophers of the second half of the 20th century. She left a large corpus of work, wide-ranging in content, always original and bold. Her monograph Intention, published in 1957, is a modern classic, and was described by Donald Davidson as "the most important treatment of action since Aristotle." Her writings in ethics have inspired countless discussions, and she has been credited with having changed the face of Anglophone moral philosophy (...) by reviving and arguing for virtue ethics, now a major field. Since Anscombe's death in 2001, her philosophical work has received a steadily increasing level of attention worldwide. Anscombe is often difficult to read, and she has certainly been frequently misunderstood, but the sympathetic interest in her work which is now evident in so many quarters is making it possible for a true picture to begin to emerge of the range, depth, and power of her contribution to philosophy. The Oxford Handbook of Elizabeth Anscombe conveys something of that emerging picture of Anscombe's overall philosophy-showing the great fecundity of her ideas in essays that develop and expand on those ideas-and allows contributors to engage critically with Anscombe, not merely to expound what she said. The handbook opens with an introduction that addresses the question of the unity in diversity of Anscombe's philosophy, relating this to the twenty-two essays that follow. The handbook is divided into parts along broadly thematic lines, addressing: intention, ethical theory, human life, the first person, and Anscombe on other philosophers. (shrink)

Examines the aims and tools of science for creating theories and explanations of phenomena, with an eye to answering the question of whether or not science ...

Univocalist analyses of the modal auxiliary verbs ('ought'/'must'/'can') and the adjective 'right'/'wrong'.

Following his celebrated book The Aesthetics of Music, Scruton explores the fundamental elements that constitute a great piece of music.

This volume brings together eleven essays that address a range of issues extending from broader questions of social justice to the sexual intimacy that bears the mark of our fleshly existence. Collectively, these essays extend the reach of Paul Ricoeur’s early to late works by taking up some of the major social, political and religious challenges facing us in a postmodern, ultrapluralistic world.

Propose une philosophie ontologique du rock, et de l'enregistrement musical.

Projects to restore nature inevitably disrupt the plants and animals that inhabit the land to be restored. This essay addresses the significance of feral animals. Can feral animals remain in a restored nature? I argue that an answer depends on what we mean by nature and restoration. I present several different conceptions of nature and discuss what their differences mean for the goals of restoration. While the presence of feral animals is not compatible with the dualist conception of nature as (...) that which is untouched by humans, other conceptions are more accommodating. Restoration to a benchmark of nature prior to human impact is both practically and conceptually implausible, thus more analysis is needed of alternative conceptions and their impacts on domesticated and feral plants and animals. (shrink)

Uses a comparative hermeneutical method to explain the most important terms in the classical Confucian philosophical texts, in an effort to allow the tradition to speak on its own terms.