Is a kantian Musical Formalism Possible?

In this article, I consider whether a suitably stripped‐down version of Kant's aesthetic theory could nevertheless provide philosophical foundations for musical formalism. I begin by distinguishing between formalism as a view about the nature of music and formalism as an approach to music criticism, arguing that Kant's aesthetics only rules out the former. Then, using an example from the work of musicologist and composer Edward T. Cone, I isolate the characteristics of formalist music criticism. With this characterization in mind, I conclude by showing that even if Kant's aesthetic theory is reduced to its most fundamental claims, the logic of formalist music criticism precludes its practice within even a kantian perspective.     

Bourdieu and Derrida on Gift: Beyond “Double Truth” and Paradox

Bourdieu and Derrida share a focus on the ambiguity of the practice of gift relationships already pointed out by Mauss. From Bourdieu’s perspective, the question of gratuity is epistemically futile, as it veils the objective truth of gift-giving, yet ethically and politically relevant, as it refers to a hypocrisy which can be instrumental to enhancing civic virtue and solidarity. Bourdieu’s “scientific humanism,” however, implausibly reduces this ambiguity to interest maximization, and aims to build a solidaristic democracy by means of the generalization of the hypocrisy of gratuity. In turn, by interpreting gratuity as “unconditionality,” Derrida aims not at dissolving, but at dramatizing the ambiguity of gift relationships by turning it into “madness” and an “impossible possibility”. Whereas I agree with Derrida’s insistence on the salience of the requirement of gratuity, his approach can lead to counterintuitive and hubristic consequences. Instead, I suggest some elements of an alternative way of understanding gratuitous gifts as communicative acts irreducible to an economic calculation or circle. From this standpoint, a gratuitous gift can be constituted by certain forms of recognition, emotions, or convictions without for that becoming an “impossibility”.     

Going backstage: a psychoanalytically informed study with amateur musicians in adult mental health services

Many mental health service users engage in potentially therapeutic amateur music practice, though the role of this in the maintenance of mental health is largely unexplored. The application of psychoanalytic ideas to music-playing gives suggestions for how this activity could helpfully sublimate distress. For this study, six men who attend adult mental health services and play a musical instrument took part in three unstructured hour-long interviews. The material was analysed with a psychoanalytically informed method. Four inter-related themes emerged: ‘Left on the outside’; ‘Playing and linking’; ‘A beautiful gift to myself’; and ‘Frustrating play’. In the lives of these amateur musicians, music’s role as a transitional object and means of containing distress is explored. There is discussion of the narcissistic function of music and the dynamics around music as an exhibitionistic act. The value of paying attention to music in the life of a patient is considered.     

Aesthetic Experts,Guides to Value

A theory of aesthetic value should explain the performance of aesthetic experts, for aesthetic experts are agents who track aesthetic value. Aesthetic empiricism, the theory that an item's aesthetic value is its power to yield aesthetic pleasure, suggests that aesthetic experts are best at locating aesthetic pleasure, especially given aesthetic internalism, the view that aesthetic reasons always have motivating force. Problems with empiricism and internalism open the door to an alternative. Aesthetic experts perform a range of actions not aimed at pleasure. Yet their reasons for acting are aesthetic. Since aesthetic values figure in aesthetic reasons, we can read a nonempiricist theory of aesthetic value off aesthetic experts’ reasons for acting.     

The Role of Popular Music in the Construction of Alternative Spiritual Identities and Ideologies

Setting its discussion in the wider context of the decline of institutional religion among young adults, the rise of alternative spiritualities, and the mediatization of religion, the article explores the significance of popular music in the development of alternative spiritual identities and ideologies. A summary is given of leading research conducted in this field by Christopher Partridge and Graham St. John. It is argued that they demonstrate the encoding of alternative spiritual symbols and ideologies into certain forms of popular music, they fail to give an adequate account of how audiences actively make use of this music to construct alternative spiritual identities or frameworks of meaning. The article concludes that researchers in the field of religion and popular music need to draw more on theories and methods developed in ethno-musicology and the sociology of music, and suggests that the work of Tia De Nora on music in everyday life raises important questions about the qualities and context of the act of listening to music that could generate more nuanced accounts of how popular music shapes alternative spiritual identities and ideologies.     

Enacting musical emotions. sense-making,dynamic systems,and the embodied mind

The subject of musical emotions has emerged only recently as a major area of research. While much work in this area offers fascinating insights to musicological research, assumptions about the nature of emotional experience seem to remain committed to appraisal, representations, and a rule-based or information-processing model of cognition. Over the past three decades alternative ‘embodied’ and ‘enactive’ models of mind have challenged this approach by emphasising the self-organising aspects of cognition, often describing it as an ongoing process of dynamic interactivity between an organism and its environment. More recently, this perspective has been applied to the study of emotion in general, opening up interesting new possibilities for theory and research. This new approach, however, has received rather limited attention in musical contexts. With this in mind, we critically review the history of music and emotion studies, arguing that many existing theories offer only limited views of what musical-emotional experience entails. We then attempt to provide preliminary grounding for an alternative perspective on music and emotion based on the enactive/dynamic systems approach to the study of mind.     

Modeling without representation

How can mathematical models which represent the causal structure of the world incompletely or incorrectly have any scientific value? I argue that this apparent puzzle is an artifact of a realist emphasis on representation in the philosophy of modeling. I offer an alternative, pragmatic methodology of modeling, inspired by classic papers by modelers themselves. The crux of the view is that models developed for purposes other than explanation may be justified without reference to their representational properties.     

Understanding Kant's Distinction between Free and Dependent Beauty

I interpret Kant's distinction between free and dependent beauty in a way that makes it possible for an object to be judged dependently beautiful without being judged freely beautiful. This is an alternative to the analyses provided by Malcolm Budd and Christopher Janaway, which both face a dilemma because they entail that an object must be judged freely beautiful in order to be judged dependently beautiful. The dilemma is that either the determinant of a judgement of dependent beauty is based upon non-aesthetic criteria (if the object is not freely beautiful), or else the judgement is superfluous for an account of aesthetic value. My analysis of the distinction allows both kinds of beauty to play a meaningful role in a theory of aesthetic value.     

Natural Sounds and Musical Sounds: A Dual Distinction

In this article I consider the relationship between natural sounds and music. I evaluate two prominent accounts of this relationship. These accounts satisfy an important condition, the difference condition: musical sounds are different from natural sounds. However, they fail to meet an equally important condition, the interaction condition: musical sounds and natural sounds can interact in aesthetically important ways to create unified aesthetic objects. I then propose an alternative account of the relationship between natural sounds and music that meets both conditions. I argue that natural sounds are distinct from music in that they express a kind of alterity or “otherness,” which occurs in two ways. It occurs referentially, because the sources of natural sounds are natural objects rather than artifactual objects, such as instruments; it also occurs acoustically, because natural sounds tend to contain more microtones than macrotones. On my account, the distinction between music and natural sounds is both conventional and vague; it therefore allows music and natural sounds to come together.     

How shared preferences in music create bonds between people: values as the missing link

How can shared music preferences create social bonds between people? A process model is developed in which music preferences as value-expressive attitudes create social bonds via conveyed value similarity. The musical bonding model links two research streams: (a) music preferences as indicators of similarity in value orientations and (b) similarity in value orientations leading to social attraction. Two laboratory experiments and one dyadic field study demonstrated that music can create interpersonal bonds between young people because music preferences can be cues for similar or dissimilar value orientations, with similarity in values then contributing to social attraction. One study tested and ruled out an alternative explanation (via personality similarity), illuminating the differential impact of perceived value similarity versus personality similarity on social attraction. Value similarity is the missing link in explaining the musical bonding phenomenon, which seems to hold for Western and non-Western samples and in experimental and natural settings.     

Music, mourning, and consolation

The attacks of September 11, 2001, prompt a consideration of the role of music in mourning and trauma. The intrapsychic functions of music in the mourning process are explored, as is music as a unique response to trauma and as a special aesthetic expression of a range of affects connected with grief. Also explored is the allied notion of consolation, a topic underdeveloped in the analytic literature.     

The biology and evolution of music: a comparative perspective

Studies of the biology of music (as of language) are highly interdisciplinary and demand the integration of diverse strands of evidence. In this paper, I present a comparative perspective on the biology and evolution of music, stressing the value of comparisons both with human language, and with those animal communication systems traditionally termed "song". A comparison of the "design features" of music with those of language reveals substantial overlap, along with some important differences. Most of these differences appear to stem from semantic, rather than structural, factors, suggesting a shared formal core of music and language. I next review various animal communication systems that appear related to human music, either by analogy (bird and whale "song") or potential homology (great ape bimanual drumming). A crucial comparative distinction is between learned, complex signals (like language, music and birdsong) and unlearned signals (like laughter, ape calls, or bird calls). While human vocalizations clearly build upon an acoustic and emotional foundation shared with other primates and mammals, vocal learning has evolved independently in our species since our divergence with chimpanzees. The convergent evolution of vocal learning in other species offers a powerful window into psychological and neural constraints influencing the evolution of complex signaling systems (including both song and speech), while ape drumming presents a fascinating potential homology with human instrumental music. I next discuss the archeological data relevant to music evolution, concluding on the basis of prehistoric bone flutes that instrumental music is at least 40,000 years old, and perhaps much older. I end with a brief review of adaptive functions proposed for music, concluding that no one selective force (e.g., sexual selection) is adequate to explaining all aspects of human music. I suggest that questions about the past function of music are unlikely to be answered definitively and are thus a poor choice as a research focus for biomusicology. In contrast, a comparative approach to music promises rich dividends for our future understanding of the biology and evolution of music.     

Dance,Knowledge, and Power

Susanne K. Langer contributed an exhaustive account of aesthetics, Feeling and Form, in which she articulated her schema of the virtual and wove together the aesthetic elements of music, visual arts, dance, and literature/theater. This analysis of her work centers on two key concepts within her philosophy: the virtual as the aesthetic effect of the work and the perception of the work through intuition. In this paper, I re-read Langers philosophy through a perspective built on intersections between phenomenology, pragmatism, and post-structuralist theory in order to reveal the relevance of her work to current understandings of how the dancing body produces and conveys meaning. I endeavor to show how her work provides a practical, conceptual system for understanding dance as an a-linguistic form of meaning-making, bodily experience, and knowledge.     

FICTIONAL FORM AND SYMPHONIC STRUCTURE: AN ESSAY IN COMPARATIVE AESTHETICS

It is agreed on all hands that both fictional narratives and the familiar genres of classical music possess an inner structure that both can be perceived and be appreciated aesthetically. It is my argument here that this inner structure plays a crucially different role in fictional narrative than it does in classical music, confining myself here to 'absolute music' (which is to say, pure instrumental music without text, programme, dramatic setting, or other 'extra-musical' content). The argument, basically, is that whereas the sophisticated listener to the absolute music repertory is keenly, consciously aware of the inner structure, the sophisticated reader of fictional narrative, the principal exemplar being the novel, is not so aware. Therefore, whereas musical structure directly contributes to aesthetic satisfaction, narrative structure contributes only indirectly (which is not to deny that, at times, the reader is consciously aware of narrative structure, and that, at such times, it does contribute directly to aesthetic satisfaction).     

Coordinated cooperation and increasing competence

In 1948 Van Lohuizen emphasized the importance of cooperation among all parties, and the need to establish continuous links between the scientific, aesthetic, and political dimensions of the planning process, so the necessary knowledge, talent, and insight can be accessed as if combined in one individual, to allow high caliber performance. Similar pleas have been made elsewhere, indicating special kinds of obstacles that affect such performance. In this article these obstacles are identified and interpreted as the result of an ill-match between two approaches. According to the first, coordination and combination will be best when participant actors are modeled into well-defined roles, and their interactions coordinated via those roles. According to the second, differences should be made evident via the use of coordinating languages, leaving maximum freedom to and difference among participants, as voluntary users of those languages. Following the first approach, but not accepting its consequences as valued by the second approach, explains pleas like van Lohuizen’s. They can be fulfilled by explicating the methodology of the second approach. The article tries to provide both: the explanation and (part of the) methodology. Gerard de Zeeuw is full professor at the University of Amsterdam. He studied at the Universities of Leyden, Rotterdam and Stanford (mathematics, statistics, econometrics, psychology) and did his Ph.D. at the University of Amsterdam. He has published or edited 10 books and many papers, mainly about problems of improvement. Currently he is scientific director of the Center for Innovation and Cooperative Technology, and editor-in-chief of Systems Research.     

Blind or deaf? A matter of aesthetics

Blind or deaf? Surprisingly, a small but noticeable minority, 17%, opted for blindness. Another 6% were indifferent. For these individuals (23% of the sample), the loss of the aesthetic experience--music--was given relatively greater weight than the loss of the practical--conversation. This was not a symmetric effect in that those who opted for being deaf did not place greater value on the aesthetic aspects of vision compared to those who opted for being blind. What predicts the preference for being blind was not the amount of time spent listening to music but the extent to which one formally studied, created, and played music and experienced intense emotions when engaged by music.     

An alternative to current psychiatric classifications: a psychological landscape hypothesis based on an integrative,dynamical and multidimensional approach

Background

Mental disorders as defined by current classifications are not fully supported by scientific evidence. It is unclear whether main disorders should be broken down into separate categories or disposed along a continuous spectrum. In the near future, new classes of mental disorders could be defined through associations of so-called abnormalities observed at the genetic, molecular and neuronal circuitry levels.

Methods

We propose an alternative hypothesis to these classifications based on an integrative, dynamical and multidimensional approach.

Results

We suggest that observed data collected in the general population can be used to build a psychological landscape. Innovative techniques issued from information processing and system dynamics can prove helpful in this task. Information preserving techniques can reduce the high dimensional data collected and provide an intrinsic map for psychological characteristics or behaviors. Dynamical patterns called attractors, which are linked to each other through continuous pathways, can be identified. Specific attractors can define mental disorders. Their causal structure can be investigated with causal networks.

Conclusions

Powerful and reliable tools are available so that an alternative to current psychiatric classifications can be built based on a genuine biopsychosocial model. The proposed model is ready to be tested on real data.

     

What Can Experiments Reveal About the Origins of Music?

ABSTRACT— The origins of music have intrigued scholars for thousands of years. In this article I discuss the role of experiments in discussions of these issues. I argue that potentially useful kinds of evidence are those that address the innateness and the specificity of different components of musical behavior. At present there is some evidence for innate influences on music, but little evidence for capacities that are clearly specific to music. Although future experiments could potentially alter this picture, there is currently little unambiguous support for the notion that music is an adaptation.     

Emotions over time: synchronicity and development of subjective, physiological, and facial affective reactions to music

Most people are able to identify basic emotions expressed in music and experience affective reactions to music. But does music generally induce emotion? Does it elicit subjective feelings, physiological arousal, and motor reactions reliably in different individuals? In this interdisciplinary study, measurement of skin conductance, facial muscle activity, and self-monitoring were synchronized with musical stimuli. A group of 38 participants listened to classical, rock, and pop music and reported their feelings in a two-dimensional emotion space during listening. The first entrance of a solo voice or choir and the beginning of new sections were found to elicit interindividual changes in subjective feelings and physiological arousal. Quincy Jones' "Bossa Nova" motivated movement and laughing in more than half of the participants. Bodily reactions such as "goose bumps" and "shivers" could be stimulated by the "Tuba Mirum" from Mozart's Requiem in 7 of 38 participants. In addition, the authors repeated the experiment seven times with one participant to examine intraindividual stability of effects. This exploratory combination of approaches throws a new light on the astonishing complexity of affective music listening.