Audio features such as inharmonicity, noisiness, and spectral roll-off have been identified as correlates of “noisy” sounds. However, such features are likely involved in the experience of multiple semantic timbre categories of varied meaning and valence. This paper examines the relationships of stimulus properties and audio features with the semantic timbre categories raspy/grainy/rough, harsh/noisy, and airy/breathy. Participants rated a random subset of 52 stimuli from a set of 156 approximately 2-s orchestral instrument sounds representing varied instrument families, registers, (...) and both traditional and extended playing techniques. Stimuli were rated on the three semantic categories of interest, as well as on perceived playing exertion and emotional valence. Correlational analyses demonstrated a strong negative relationship between positive valence and perceived physical exertion. Exploratory linear mixed models revealed significant effects of extended technique and pitch register on valence, the perception of physical exertion, raspy/grainy/rough, and harsh/noisy. Instrument family was significantly related to ratings of airy/breathy. With an updated version of the Timbre Toolbox, we used 44 summary audio features, extracted from the stimuli using spectral and harmonic representations, as input for various models built to predict mean semantic ratings for each sound on the three semantic categories, on perceived exertion, and on valence. Random Forest models predicting semantic ratings from audio features outperformed Partial Least-Squares Regression models, consistent with previous results suggesting that non-linear methods are advantageous in timbre semantic predictions using audio features. Relative Variable Importance measures from the models among the three semantic categories demonstrate that although these related semantic categories are associated in part with overlapping features, they can be differentiated through individual patterns of audio feature relationships. (shrink)

Along with pitch and loudness, timbre is commonly described as an audible property of sounds. This paper puts forward an alternative view—that timbres are properties of auditory media. This approach has many advantages. First, it accounts for the frequent attribution of timbres to objects that do not have characteristic sounds. Second, it explains why timbres are attributed not only to ordinary objects, like musical instruments, but also to surrounding spaces and architectural structures. And finally, it provides an original solution (...) to the timbre-constancy problem. (shrink)

Much research has explored developing sound representations in language, but less work addresses developing representations of other sound patterns. This study examined preschool children's musical representations using two different tasks: discrimination and sound–picture association. Melodic contour—a musically relevant property—and instrumental timbre, which is less musically relevant, were tested. In Experiment 1, children failed to associate cartoon characters to melodies with maximally different pitch contours, with no advantage for melody preexposure. Experiment 2 also used different-contour melodies and found good (...) discrimination, whereas association was at chance. Experiment 3 replicated Experiment 2, but with a large timbre change instead of a contour change. Here, discrimination and association were both excellent. Preschool-aged children may have stronger or more durable representations of timbre than contour, particularly in more difficult tasks. Reasons for weaker association of contour than timbre information are discussed, along with implications for auditory development. (shrink)

This article discusses the theory of Western wind instruments from a philosophical perspective, aiming to explore the theory of Western wind instruments. It uses the humanistic values and essential motivations in Western wind instruments to explain the significance and daily life of Western wind instruments, and exposes the cultural essence of Western wind instruments. So from a philosophical perspective, we can see the diverse presentation methods of Western wind instruments, presenting their unique beauty in timbre. The artistic and spiritual (...) beauty created by their elegant and harmonious music is a unique aesthetic observation. Western orchestral music has played a key role in improving the comprehensive quality, personality charm, and humanistic complex of the appreciative audience, and has unique advantages throughout the entire process of modern aesthetic education. In this article, the unique beauty of Western wind instruments was first analyzed, followed by a study on the modern aesthetic education value of Western wind instruments. Attempting to reflect on Western wind instrument cultural theory through philosophical methods and exploring ways to express a stronger and more accurate understanding and feelings of Western wind instrument theory. (shrink)

La poétique des compositeurs répétitifs américains Terry Riley, Steve Reich et Philip Glass repose sur des usages spécifiques de l’instrument de musique. C’est tout d’abord l’indigence des ressources instrumentales et le recours à des instruments de fortune, comme l’orgue électrique. C’est également l’usage de l’amplification dans la composition du timbre et le traitement percussif des instruments à clavier, en particulier chez Steve Reich. Enfin, le « transfert » de structures issues de la musique pour bande vers l’écriture traditionnelle détermine (...) les choix et les usages de l’instrument, par des mises en boucle, des effets d’accumulation, un jeu sur l’indiscernabilité des timbres et une attention aux plus infimes détails émergeant de la répétitivité du jeu, de sorte que les choix esthétiques des trois compositeurs impliquent une gestion spécifique de l’instrument de musique. (shrink)

As Kant claimed in the Groundwork, and as the idea has been developed by Korsgaard 1997, Bratman 1987, and Broome 2002. This formulation is agnostic on whether reasons for ends derive from our desiring those ends, or from the relation of those ends to things of independent value. However, desire-based theorists may deny, against Hubin 1999, that their theory is a combination of a principle of instrumental transmission and the principle that reasons for ends are provided by desires. Instead, (...) they may say, there is just one principle, a principle of, if you will, instrumental transmutation: if one desires the end, then one has reason to take the means. See the discussion of General Production, in section 8, for a doubt about this. (shrink)

You should be specific, but also explain the context and relevance of the term. (Each ID is worth 5 points).

Musical systems develop associations over time between aspects of musical form and concepts from outside of the music. Experienced listeners internalize these connotations, such that the formal elements bring to mind their extra-musical meanings. An example of musical form-meaning mapping is the association that Western listeners have between the major and minor modes and happiness and sadness, respectively. We revisit the emotional semantics of musical mode in a study of 44 American participants (musicians and non-musicians) who each evaluated the relatedness (...) of 96 melody-word pairs. Among the tonal melodies, we manipulated mode (major and minor) and timbre (clarinet and flute) while systematically controlling for other musical factors including pitch register and melodic contour. Similarly, among the English words, we manipulated word affect (happy and sad) while systematically controlling for other lexical factors including frequency and word length. Results demonstrated that participants provided a higher proportion of related responses for major melodies paired with happy words and minor melodies paired with sad words than for the reverse pairings. This interaction between mode and word affect was highly significant for both musicians and non-musicians, albeit with a larger effect for the former group. Further interactions with timbre suggested that while both clarinet and flute conveyed happiness when in the major mode, the clarinet was somewhat more successful than the flute at conveying sadness in the minor mode. Debriefing questionnaires suggested that the majority of the participants, including all of the non-musicians, had no awareness of the major-minor manipulation, and instead directed their attention to register and contour. We argue that the affective character of the major and minor modes is but one example of form-meaning mapping in music, and suggest further exploration of the roles of timbre, register, and contour in conveying musical emotions. (shrink)

Philosophers often consider better compliance with prevalent pre-theoretical intuitions to be an advantage of a theory of ontology of musical works. However, despite many predictions of what these intuitions on relevant questions might be, so far there is only one experimental philosophy study on the repeatability of musical works by Christopher Bartel. We decided to examine the intuitions concerning the individuation of musical works by creating scenarios reflecting the differences in the positions of musical ontologists: pure and timbral sonicism, instrumentalism, (...) and contextualism. The results show that emotional expressivity, instrument, timbre, and images evoked in the listeners were not considered as properties individuating musical works. However, the musical works were held to be different if the composers were different. In most cases, the participants had clear intuitions. Pure sonicism, complemented with additional stress on significance of the composer’s creativity, seems to be the most intuitive position. (shrink)

Background. Attending to goal-relevant information can leave us metaphorically ‘blind’ or ‘deaf’ to the next relevant information while searching among distracters. This temporal cost lasting for about a half a second on the human selective attention has been long explored using the attentional blink paradigm. Although there is evidence that certain visual stimuli relating to one’s area of expertise can be less susceptible to attentional blink effects, it remains unexplored whether the dynamics of temporal selective attention vary with expertise and (...) objects types in the auditory modality. Methods. Using the auditory version of the attentional blink paradigm, the present study investigates whether certain auditory objects relating to musical and perceptual expertise could have an impact on the transient costs of selective attention. In this study, expert cellists and novice participants were asked to first identify a target sound, and then to detect instrumental timbres of cello or organ, or human voice as a second target in a rapid auditory stream. Results. The results showed moderate evidence against the attentional blink effect for voices independent of participants’ musical expertise. Experts outperformed novices in their overall accuracy levels of target identification and detection, reflecting a clear benefit of musical expertise. Importanly, the musicianship advantage disappeared when the human voices served as the second target in the stream. Discussion. The results are discussed in terms of stimulus salience, the advantage of voice processing, as well as perceptual and musical expertise in relation to attention and working memory performances. (shrink)

This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to “frequency-based” music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timbre-based music attract the attention of Western researchers, these are usually interpreted as “defective” implementations of frequency-based (...) music. The presence of discrete pitch is often regarded as the structural criterion that distinguishes music from non-music. We would like to present evidence to the contrary—in support of the existence of indigenous music systems based on the discretization and patterning of aspects of timbre, rather than pitch. This evidence comes mainly from extensive ethnographic research systematically conducted in eastern European and Asian parts of Russia from the 1890s. It involved the efforts of thousands of specialists and was coordinated by dozens of research institutions, and it has included not just ethnomusicology but linguistics, philology, organology, archaeology, anthropology, geography, and religious and social studies. Much of the data has not been translated into Western languages. Timbre-based tonal organization (TO) differs from that based on frequency in its personal orientation: musicking here occurs primarily for oneself and/or for close relatives/friends. Collective music-making is rare and exceptional. The foundation of timbre-based music seems to have vocal roots and rests on “personal song”—a system of personal identification through individualized patterns of rhythm, timbre, and pitch contour, utilized like a “human voice”—whose sound enables the recognition of a particular individual. The instrumental counterpart of the personalized singing tradition is the jaw harp tradition. The jaw harp is the principal musical instrument for at least 21 ethnicities in Russia, who occupy over half the territory of the country. The evolution of its TO forms the backbone for the development of timbre-based music art. Here, we provide the acoustic, socio-cultural, geographic, and chronological overview of timbre-based music. (shrink)

IntroductionWind instrument players sometimes suffer from erosion of the mucous membrane of the lip. This is caused by the action and pressure of the mouthpiece of the wind instrument against teeth. To address this problem, a lip shield is fitted over the dental arch to prevent direct contact between the lips and teeth. However, there are a few studies on the influence of the lip shield on the acoustics of wind instruments. The purpose of this study was to analyze the (...) psychoacoustics of a clarinet performance with the player wearing a custom-made soft lip shield to prevent mucosal erosion of the lower lip.Case DescriptionA lip shield was custom-made with a soft thermoplastic material for a female clarinetist who complained of mucosal erosion and pain of the lower lip. The psychoacoustics of her musical performance played in different dynamics, fortissimo, mezzo forte and pianissimo were analyzed, including loudness and sharpness. A self-evaluation questionnaire with items rated on a 10-point scale was administered. After wearing the lip shield, the patient reported that the mucosal erosion and pain of her lower lip when playing clarinet resolved. The lip shield had little effect on the loudness. There was a slight decrease in sharpness when the lip shield was worn compared to when it was not, describing the reduction of high frequencies. Furthermore, fewer variations in sharpness between the tones were observed.ConclusionThe results suggest that lip shields made of soft materials can eliminate mucosal erosion and pain of the lower lip while having little effect on performance, although, a slight change in timbre is possible. (shrink)

What kind of technology is the piano? It was once a distinctly everyday technology. In the bourgeois home of the nineteenth century it became an emblematic figure of gendered social life, its role shifting between visually pleasing piece of furniture, source of light entertainment, and expression of cultured upbringing. It performed this role unobtrusively, acting as a transparent mediator of social relations. To the composer of concert music it was, and sometimes still is, says Samuel Wilson, like the philosopher’s table: (...) “an assumed background on which one writes.” Like other instruments standard to Western art music, the piano was designed to facilitate the production of a consistent and refined timbre. More than most other such instruments, the piano also facilitated a kind of sonic neutrality. With its wide pitch range and smoothing of the percussive attack of its predecessor instruments, the piano presented composers with a technological means of approaching composition from a seemingly objective vantage point. It exemplified, in Heideggerian terms, the instrumentality of the instrument, serving as a mediator between idea and expression that apparently adds no character of its own. -/- This notion of the invisibility, or transparency, of the mediations that musical technologies such as the piano enact is one of my areas of concern here. So too is its inverse: when these mediations become visible or opaque. Transparency has been a topic of significant recent theoretical attention. Stefanos Geroulanos, for example, has detailed how the supposed transparency of intersubjective, epistemological, and social relations was a major point of critique in postwar French thought, where the supposition of transparency was taken to suppress how the world was “complex, layered, structured, filled with heterogeneity” – and, as I will stress here, contingency. The thinkers Geroulanos considers, from Jean-Paul Sartre through to Jean-François Lyotard, can be said to be united in their refusal to invisibilise mediatedness. From a starting point of conceiving of the piano as a technological artifact, and in particular from John Cage’s ‘prepared piano,’ I will explore how a similar concern has appeared in musical contexts, albeit not without the risk of reversion back into a logic of transparency. (shrink)

Peut-on vivre sans musique? Ce livre donne toutes les raisons pour lesquelles c'est impossible. De láa son titre. Il montre que la musique est une partie intâegrante et indispensable de notre vie quotidienne. Le timbre, la durâee, la hauteur, l'intensitâe du son musical dâeroulent, au long du temps humain, des ondes áa la vibration desquelles nos oreilles ne peuvent et ne veulent pas se soustraire. Les hommes sont si fortement attachâes áa la puissance de la musique, qu'ils ont inventâe, (...) pour la produire, une admirable diversitâe d'instruments, dont l'ingâeniositâe, le raffinement et les effets sonores dâefient l'imagination. C'est áa travers cet univers, extraordinaire autant que quotidien, que voyage le prâesent livre, en citant et expliquant d'innombrables oeuvres musicales, symphonies, concertos, sonates, quatuors, opâeras, plus fascinantes les unes que les autres, qui jalonnent l'histoire de l'effort opiniãatre des communautâes humaines pour s'enchanter elles-mãemes par cet âetincelant miracle : la musique"--Page 4 of cover. (shrink)

The historical features of the playing of the flute group in the symphony orchestra, the ability of soloists-instrumentalists to be performers of a single group and a single whole among the large composition of members of the symphony orchestra are analyzed. The authors substantiate the expediency of the development of instrumental musicians first of all as orchestra players, and then as solo performers. The aim and the tasks: to analyze the historical development of the ensemble playing of the flute (...) group as part of the symphony orchestra. The tasks of the research are the analysis of publications on this issue and the selection of the necessary components for playing a group of flutes in a symphony orchestra.Research methods: the research methodology consists of the ratio of traditional and modern expedient, ascent from individual to generalized (generalizing principle) from abstract to concrete. Research results: a wide range of research on the musical performance process from the New Age to the present is analyzed. Analysis of new modern concepts of training of instrumental musicians in institutions of higher education is carried out. The European search for new forms is characterized by the search for objective regularities in music education of past centuries, taking into account the modern demand for orchestra players on the European labor market. Discussion. What should come first in the training of an orchestra playerindividual classes or his training in a team. Conclusion. Thus, the analysis of the historical development of the ensemble playing of the flute group in the symphony orchestra allowed us to draw the following conclusions: during the reign of the classicism and romantic styles, an understanding of the necessary components for a symphony orchestra artist in the flute group was formed: a the component of pure vertical and horizontal intonation; a the component to feel the dynamic balance of all participants in the ensemble playing of the flute group as part of the symphony orchestra; a component of the timbre fusion of the flute group and full sounding in different registers; a component understanding in performing strokes in groups of flutes; a component of expressiveness and vivid phrasing of the ensemble playing of a group of flutes as part of a symphony orchestra; a component of metrorhythmic feeling in ensemble playing; a component of the collective understanding of style by a group of flautists in a symphony orchestra. All these components in their unity will allow the group of flutes to sound as a single harmonious whole. (shrink)

Odour-sound correspondences provide some of the most fascinating and intriguing examples of crossmodal associations, in part, because it is unclear from where exactly they originate. Although frequently used as similes, or figures of speech, in both literature and poetry, such smell-sound correspondences have recently started to attract the attention of experimental researchers too. To date, the findings clearly demonstrate that the majority of non-synaesthetic individuals associate orthonasally-presented odours with various different sound properties, e.g., pitch, instrument type, and timbre, in (...) a non-random manner. What is more, these auditory-olfactory associations exhibit a number of features that are common to other crossmodal associations, such as their consistency over time, and their bidirectionality. However, the psychological mechanism underpinning these associations in the general population remain unclear, with a number of distinct hypotheses having been put forward over the years. In this chapter, we consider auditory-olfactory associations in art and science, focusing on poetry, music composition, and performance. First, we provide examples of the use of auditory-olfactory synaesthetic metaphors in poetry, from William Shakespeare through to Romanticism, illustrating how crossmodal associations have appeared in literature for centuries. Then, we move on to focus on music composition and performance, describing a number of examples where auditory stimuli have been purposely matched with crossmodally corresponding olfactory and/or visual stimuli. Considering the scientific study of smell-sound correspondences, we review the key psychophysical studies demonstrating that, beyond the artistic context, robust and non-random crossmodal associations are also triggered in the majority of the general population. We discuss a number of hypotheses that have been put forward over the years to account for such associations, focusing on the idea that certain correspondences between olfactory and auditory stimuli are mediated by the emotional character of the component stimuli. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.2 (2005) 36-57 [Access article in PDF] "Being With": The Resonant Legacy of Childhood's Creative Aesthetic Lori A. Custodero Teachers College, Columbia University Introduction...enrichment of the present for its own sake is the just heritage of childhood....1In this paper, the qualities of artistic pursuit exemplified in the musical play of children and the compositional processes of adults provide a context for exploring how "being (...) with" influences teaching and learning. Specifically I propose that "being with" music generates a sense of the aesthetic as we both transform musical materials — timbres, pitches, rhythms, phrases, harmonies — and are transformed by our experiences with them, and that "being with" others as we partake in musical activity often broadens and deepens that experience. In many ways, this is an exploration into why childhood matters, how it functions as a mirror for our adult lives as we experience and revel in the seemingly miraculous moments of aesthetic insight, where the familiar is welcomed with fresh perception and the addition of novelty is greeted as the solution to a previously unfathomable problem. It is also about why children matter, as our responses to their ways of being connect and transform us as adults. In this piece, recorded observations of children's musicality are juxtaposed with first-person accounts of adults' creative processes, revealing contributions to our understanding of artistry-in-action as it is manifested in both the musical and the pedagogical. The Aesthetic in Childhood and Adulthood To be "in the moment" is to encounter the aesthetic — fully engaged in an activity for which one's individual contributions are perceived as vital, aware of surprise relationships between seemingly disparate phenomena, and enveloped by sensory messages of color, sound, and movement meeting personal criteria for beauty. Such experiences exemplify features of artistry, an approach defined by openness to possibility and orientation toward discovery, where cues emanating from involvement in activity are clearly interpreted and utilized, and reflection is an ongoing process informing action. Characterized by a sense of wonder and ability to imagine and invent, the creative worlds of young children have provided a source of artistic genesis cited by composers, performers, psychologists, and educators.2Edith Cobb's thoughtful, groundbreaking account of the relationship between childhood and artistry, The Ecology of Imagination in Childhood, was introduced by Margaret Mead, who highlighted the work's thesis: "that in the imaginative experiences of childhood could be found the essential kernels of the highest forms of human thought."3 The legacy of childhood is universal to our existence; in acknowledging its contributions to ontological and cultural artistry, we can both connect personal histories across the [End Page 36] lifespan and identify characteristic trends across a spectrum of aesthetic rendering.4One trait common to both the child and the creative adult is a focused attentiveness to perceived affordances, that is, materials and human resources accessible in the environment. Acting upon and with these resources,children and artists become aesthetic agents as sensitivity to both experience and milieu combine to produce relevant and innovative outcomes.5 These two interactive dimensions have been described in interviews with composers I have interviewed as "being with the moment" and "being with yourself and at the same time with another" and are operating in the musical play of children, as noted in this description recorded by a mother/student: On Thanksgiving Day, we had a family gathering of sixteen people, five of whom are under the age of eight years. Three-year-old Louise is thrilled to be with her female cousins, who all dress up in ballet-type frilly costumes in order to put on a "show" for the family. Cousin Lily, now eight years old, assumes the role of pianist, while Louise, and five-year-old cousin Amy creatively dance to Lily's improvised accompaniment. Their movements are directly related to Lily's playing, in her fluidity and well as "jumps!" Here, family members serve as catalysts for creative activity — costumes and musical instruments in the environment... (shrink)

Most contemporary variants of virtue ethics have a neo-Aristotelian timbre. However, standing alongside the neo-Aristotelians are a number of others playing similar tunes on different instruments. This chapter highlights the four most important virtue ethical alternatives to the dominant neo-Aristotelian chorus. These are Michael Slote’s agent-based approach, Linda Zagzebski’s exemplarism, Christine Swanton’s target-centered theory, and Robert Merrihew Adams’s neo-Platonic account. What these four approaches showcase is the range of possible theoretical structures available to virtue ethicists. A virtue ethicist might (...) attempt to define other normative qualities like goodness or rightness in terms of virtuous traits. But she need not. Instead, she might develop a theory in which virtue is fundamental but other normative qualities obey a logic that is at least partially independent of virtue. This chapter draws attention to an exciting range of possibilities for virtue ethics that both critics and advocates alike will want to explore. (shrink)

Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation can individuate musical works, too. I argue here that there can be a further element of musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the ontology of (...) music. Hardcore formalists cannot allow for spatial music. I argue that two other views, which allow a close relationship between sounds and musical works, can allow for works of spatial music. However, their ability to do so turns on issues in the philosophy of sound. I appeal to work in philosophy of sound to show that music is an art not just of hearing, but of sounds. (shrink)

It seems trivial to identify sound sequences as music or speech, particularly when the sequences come from different sound sources, such as an orchestra and a human voice. Can we also easily distinguish these categories when the sequence comes from the same sound source? On the basis of which acoustic features? We investigated these questions by examining listeners’ classification of sound sequences performed by an instrument intertwining both speech and music: the dùndún talking drum. The dùndún is commonly used in (...) south-west Nigeria as a musical instrument but is also perfectly fit for linguistic usage in what has been described as speech surrogates in Africa. One hundred seven participants from diverse geographical locations (15 different mother tongues represented) took part in an online experiment. Fifty-one participants reported being familiar with the dùndún talking drum, 55% of those being speakers of Yorùbá. During the experiment, participants listened to 30 dùndún samples of about 7s long, performed either as music or Yorùbá speech surrogate (n= 15 each) by a professional musician, and were asked to classify each sample as music or speech-like. The classification task revealed the ability of the listeners to identify the samples as intended by the performer, particularly when they were familiar with the dùndún, though even unfamiliar participants performed above chance. A logistic regression predicting participants’ classification of the samples from several acoustic features confirmed the perceptual relevance of intensity, pitch, timbre, and timing measures and their interaction with listener familiarity. In all, this study provides empirical evidence supporting the discriminating role of acoustic features and the modulatory role of familiarity in teasing apart speech and music. (shrink)

Auditory-guided vocal learning is a mechanism that operates both in humans and other animal species making us capable to imitate arbitrary sounds. Both auditory memories and auditory feedback interact to guide vocal learning. This may explain why it is easier for humans to imitate the pitch of a human voice than the pitch of a synthesized sound. In this study, we compared the effects of two different feedback modalities in learning pitch-matching abilities using a synthesized pure tone in 47 participants (...) with no prior music experience. Participants were divided into three groups: a feedback group receiving real-time visual feedback of their pitch as well as knowledge of results; an equal-timbre group receiving additional auditory feedback of the target note with a similar timbre to the instrument being used ; and a control group practicing without any feedback or knowledge of results. An additional fourth group of violin experts performed the same task for comparative purposes. All groups were posteriorly evaluated in a transfer phase. Both experimental groups improved their intonation abilities with the synthesized sound after receiving feedback. Participants from the equal-timber group seemed as capable as the feedback group of producing the required pitch with the voice after listening to the human voice, but not with the violin. In addition, only participants receiving real-time visual feedback learned and retained in the transfer phase the mapping between the synthesized pitch and its correspondence with the produced vocal or violin pitch. It is suggested that both the effect of an objective external reward, together with the experience of exploring the pitch space with their instrument in an explicit manner, helped participants to understand how to control their pitch production, strengthening their schemas, and favoring retention. (shrink)

The maqam, closely connected at first with the cult-ritual practice, absorbed and reflected philosophical and ethical ideas. These ideas, fixed in the system of maqams, despite their clear canonization, changed; they underwent a certain historical transformation due to changes in the social structure of society itself. However, the main aesthetic function of the maqam, the nature of its emotional and psychological impact on a person, a deep connection with the world around him, remained in the view of Eastern thinkers and (...) musicians unshakable until the XX century. Today, macs should be understood on the one hand as a paradigmatic structure, on the other hand, as a compositional form. The subtlest gradation of human feelings, emotional and psychological states also determined a carefully developed (theoretically) mode, intonation, pitch system of images, symbols, signs, their connection with specific manifestations of spiritual experiences and emotional states. Certain universal principles of musical dramaturgy are observed in the makam, based on diverse contrast: fret, timbre-register, dynamic, vocal-instrumental, rhythmic. These internal contrasts are infinitely diverse, but they are outlined so subtly, barely perceptible. Instrumental and vocal-instrumental music in Islamic culture was mainly an environment of professional musicians who mastered the art of maqam thinking. Makam represented the unity of the theory of performing practice for musicians. (shrink)

In this paper I explore the production aesthetics that define the sound of most arranged traditional music albums produced in the early 2000s in Istanbul,Turkey. I will focus on two primary aesthetic characteristics, the achievement of which consume much of the labor put into tracking and mix- ing: parlak (“shine”) and büyük ses (“big sound”). Parlak, at its most basic, consists of a pronounced high frequency boost and a pattern of harmonic distortion characteristics,and is often described by studio musicians and (...) engineers in Turkey as an exaggeration of the perceived brightness of the majority of Anatolian folk instruments. Büyük ses, which in basic terms connotes a high density of heterogeneous musical parts,in contrast to parlak has no relation to any known longstanding Anatolian musical performing traditions or timbral aesthetics, and is a recent development in Istanbul-produced record- ings.Parlak and büyük ses became widespread after 2000,accompanying the paradigm shift of Istanbul studios from analog to digital workflows. Parlak and büyük ses are of interest for reasons that transcend music-aesthetics. The successful creation of mixes with parlak and büyük ses necessitates a palpable change in the performance practice of folk music instruments, as well a fundamental reconfiguration of the social structure of music-making, which in turn involves new musical competences and conceptualizations of musical practice. Parlak and büyük ses are not just a result of using a particular set of technologies (i.e., microphones or effects plugins), but instead arise from arduous and detailed arrangement and nonlinear editing work that is made feasible through DAW (digital audio workstation) systems. Although parlak and büyük ses index the transformation of traditional music aesthetics in the context of digital audio recording production, and their production is at the forefront of concerns of the professionals working in the recording studio environment, the terms are never mentioned in published music criticism, and only usually uttered in the studio context at the inception of a project and at the completion of a mix. Considerable preemptive work is done by studio musicians, engineers, and arrangers to avoid the need for the terms to be mentioned at all. (shrink)

The first book on timbre (or, tone color), and one that covers both classical and popular music.

Timbre is that property of a sound that distinguishes it other than pitch and loudness, for instance the distinctive sound quality of a violin or flute. While the term is obscure, the concept has played an important, implicit role in recent philosophy of sound. Philosophers have debated whether to identify sounds with properties of waves, events, or objects. Many of the intuitive considerations in this debate apply most clearly to timbre qualities. Two prominent forms of timbre physicalism (...) have emerged: one identifying timbre with the spectral composition of proximal waves; the second identifying timbre with the mechanical vibrations at a sound source. I demonstrate that the first possibility is conceptually unsatisfying, while the second fails to meet the standards of rigor established by the color physicalism literature. One response to these worries might be to adopt a more modest, non-reductive realism about timbre, such as the ecological view of J. J. Gibson. (shrink)

Robert John Ackermann deals decisively with the problem of relativism that has plagued post-empiricist philosophy of science. Recognizing that theory and data are mediated by data domains (bordered data sets produced by scientific instruments), he argues that the use of instruments breaks the dependency of observation on theory and thus creates a reasoned basis for scientific objectivity. Originally published in 1985. 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 editions preserve the original texts of these important books while presenting them in durable paperback and hardcover 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)

Despite its potential implications for the objectivity of scientific knowledge, the claim that “scientific instruments are perspectival” has received little critical attention. I show that this claim is best understood as highlighting the dependence of instruments on different perspectives. When closely analyzed, instead of constituting a novel epistemic challenge, this dependence can be exploited to mount novel strategies for resolving two old epistemic problems: conceptual relativism and theory-ladeness. The novel content of this article consists in articulating and developing these strategies (...) by introducing two fine-grained notions of perspectives as the key units of analysis: “broad perspectives” and “narrow perspectives.”. (shrink)

Often our reason for doing something is an "instrumental reason": that doing that is a means to doing something else that we have reason to do. What principles govern this "instrumental transmission" of reasons from ends to means? Negatively, I argue against principles often invoked in the literature, which focus on necessary or sufficient means. Positively, I propose a principle, "General Transmission," which answers to two intuitive desiderata: that reason transmits to means that are "probabilizing" and "nonsuperfluous" with (...) respect to the relevant end. I then apply General Transmission to the debate over "detachment": whether "wide-scope" reason for a material conditional or disjunction implies "narrow-scope" reason for the consequent or disjuncts. (shrink)

If you ought to perform a certain act, and some other action is a necessary means for you to perform that act, then you ought to perform that other action as well – or so it seems plausible to say. This transmission principle is of both practical and theoretical significance. The aim of this paper is to defend this principle against a number of recent objections, which (as I show) are all based on core assumptions of the view called actualism. (...) I reject actualism, provide an alternative explanation of its plausible features, and present an independent argument for the transmission principle. (shrink)

Abstract I challenge the view that, in cases where time for deliberation is not an issue, instrumental rationality precludes myopic planning. I show where there is room for instrumentally rational myopic planning, and then argue that such planning is possible not only in theory, it is something human beings can and do engage in. The possibility of such planning has, however, been disregarded, and this disregard has skewed related debates concerning instrumental rationality.

Deep learning (DL) has become increasingly central to science, primarily due to its capacity to quickly, efficiently, and accurately predict and classify phenomena of scientific interest. This paper seeks to understand the principles that underwrite scientists’ epistemic entitlement to rely on DL in the first place and argues that these principles are philosophically novel. The question of this paper is not whether scientists can be justified in trusting in the reliability of DL. While today’s artificial intelligence exhibits characteristics common to (...) both scientific instruments and scientific experts, this paper argues that the familiar epistemic categories that justify belief in the reliability of instruments and experts are distinct, and that belief in the reliability of DL cannot be reduced to either. Understanding what can justify belief in AI reliability represents an occasion and opportunity for exciting, new philosophy of science. (shrink)

One important concern regarding implantable Brain Computer Interfaces is the fear that the intervention will negatively change a patient’s sense of identity or agency. In particular, there is concern that the user will be psychologically worse-off following treatment despite postoperative functional improvements. Clinical observations from similar implantable brain technologies, such as deep brain stimulation, show a small but significant proportion of patients report feelings of strangeness or difficulty adjusting to a new concept of themselves characterized by a maladaptive je ne (...) sais quoi despite clear motor improvement. Despite the growing number of cases in the DBS literature, there is currently no accepted or standardized tool in neuroethics specifically designed to capture the phenomenological postoperative experience of patients implanted with DBS or BCI devices. Given potential risks of postoperative maladaptation, it is important for the field of neuroethics to develop a qualitative instrument that can serve as a shared method for capturing postoperative variations in patient experience of identity and agency. The goal of this article is to introduce an instrument we have developed for this purpose and call for further neuroethical efforts to assess the phenomenology of implantable brain device use. (shrink)

The thesis of instrumental convergence holds that a wide range of ends have common means: for instance, self preservation, desire preservation, self improvement, and resource acquisition. Bostrom contends that instrumental convergence gives us reason to think that "the default outcome of the creation of machine superintelligence is existential catastrophe". I use the tools of decision theory to investigate whether this thesis is true. I find that, even if intrinsic desires are randomly selected, instrumental rationality induces biases towards (...) certain kinds of choices. Firstly, a bias towards choices which leave less up to chance. Secondly, a bias towards desire preservation, in line with Bostrom's conjecture. And thirdly, a bias towards choices which afford more choices later on. I do not find biases towards any other of the convergent instrumental means on Bostrom's list. I conclude that the biases induced by instrumental rationality at best weakly support Bostrom's conclusion that machine superintelligence is likely to lead to existential catastrophe. (shrink)

Does rationality require us to take the means to our ends? Intuitively, it seems clear that it does. And yet it has proven difficult to explain why this should be so: after all, if one is pursuing an end that one has decisive reason not to pursue, the balance of reasons will presumably speak against one's taking the means necessary to bring that end about. In this paper I propose a novel account of the instrumental requirement which addresses this (...) problem. On the view I develop, the instrumental requirement is normative not because agents have reasons to comply with it, but because it is anormative standardintrinsic to intentional action—i.e., it is a standard that partly spells out what it is to exercise one's agency well. (shrink)

La frappe de la monnaie et le timbrage des amphores relèvent d’une même technique, celle du sceau, qui est la marque d’une autorité publique. Cette étude analyse les rapprochements entre la composition des types monétaires et celle des emblèmes sur les timbres. Elle relève les nombreux exemples d’emploi de la même image. Elle étudie la signification juridique du scellement, qui a pour effet d’indiquer l’objet dokimon, agréé par la cité. Elle compare les modes de contrôle de la monnaie et des (...) amphores. Enfin, elle met en évidence les coïncidences chronologiques entre l’apparition des timbres et la réforme monétaire de 390 ainsi que le passage des timbres anciens aux timbres récents et le passage du groupe IV et au groupe V, vers 335. La prise de Thasos par Philippe V en 202 pourrait aussi marquer l’histoire des timbres et des monnaies. (shrink)