To <Emphasis Type="Italic">Have</Emphasis> an Ear: Music and the Otological Experience

This essay analyzes the historical development of otology in relation to music. It illustrates the integral role of music perception and appreciation in the study of hearing, where hearing operates not simply as a scientific phenomenon but signifies particular meaningful experiences in society. The four historical moments considered—Helmholtz’s piano-keyed cochlea, the ear phonautograph, the hearing aid, and the cochlear implant—show how the sounds, perceptions, and instruments of music have mediated and continue to mediate our relationships with hearing. To have an ear, one does not just bear a physiological hearing mechanism; one experiences the aesthetics of musical sound.     

Hollow Sounds: Toward a Zen‐Derived Aesthetics of Contemporary Music

To attempt to fill a perceived gap in Japanese aesthetics concerning music, this article sketches a possible way into conceptualizing a Zen‐ or Kyoto‐school‐derived aesthetics of contemporary music. Drawing principally on Kyoto‐School philosopher Ueda Shizuteru's theories of language's three levels (signal, symbolic, and hollow words), the author proposes a similar distinction between different kinds of musical experience. Analogous with Ueda's analysis of poetry, the oscillation of signal or symbolic sound and hollow ones is found to be what gives certain contemporary music its spiritual power. By applying this poetic–religious theory of language to music, an entirely new way of understanding contemporary music becomes apparent. As test case of this new approach, Morton Feldman's 1970 work The Viola in My Life (2) is analyzed. The final section addresses the differences between this method of understanding via nothingness and traditional Idealist approaches via the Absolute.     

Concatenationism and Anti‐architectonicism in Musical Understanding

This article discusses Jerrold Levinson's theory of concatenationism, which emphasizes the moment‐by‐moment character of musical listeners’ basic musical understanding, and the related project of anti‐architectonicism, which denies the influence of large‐scale music‐structural information on basic musical understanding. A reconstruction of Levinson's position reveals him to embrace a qualified architectonicism himself and shows that his remaining anti‐architectonicism is afflicted with several problems. While the conceptual distinction Levinson draws between a piece of music and its structure as well as his three “intuitions for concatenationism” all point toward important features of musical understanding, it is argued that none of them supports the anti‐architectonicist thesis in the intended manner. Furthermore, the way Levinson relates both musical understanding and musical value to a notion of aural cogency renders it difficult to see how one could understand music that one does not value or value music that one cannot understand. It is argued that the anti‐architectonicist focus of Levinson's project, together with the ensuing argumentative problems, follows from methodological commitments that might be overcome within disciplinary frameworks beyond philosophy. Suggestions are given for developing a positive concatenationism both in musicology and in philosophical aesthetics.     

“Singing for Our Lives”: Women's Music and Democratic Politics

Although democratic theorists often employ musical metaphors to describe their politics, musical practices are seldom analyzed as forms of political communication. In this article, I explore how the music of social movements, what is called “movement music,” supplements deliberative democrats' concept of public discourse as rational argument. Invoking energies, motions, and voices beyond established identities and institutions anticipates a different, more musical democracy. I argue that the “women's music” of Holly Near, founder of Redwood Records and Redwood Cultural Work, exemplifies this transformative power of musical sound.     

Musical ability and non‐native speech‐sound processing are linked through sensitivity to pitch and spectral information

Is the observed link between musical ability and non‐native speech‐sound processing due to enhanced sensitivity to acoustic features underlying both musical and linguistic processing? To address this question, native English speakers (N = 118) discriminated Norwegian tonal contrasts and Norwegian vowels. Short tones differing in temporal, pitch, and spectral characteristics were used to measure sensitivity to the various acoustic features implicated in musical and speech processing. Musical ability was measured using Gordon's Advanced Measures of Musical Audiation. Results showed that sensitivity to specific acoustic features played a role in non‐native speech‐sound processing: Controlling for non‐verbal intelligence, prior foreign language‐learning experience, and sex, sensitivity to pitch and spectral information partially mediated the link between musical ability and discrimination of non‐native vowels and lexical tones. The findings suggest that while sensitivity to certain acoustic features partially mediates the relationship between musical ability and non‐native speech‐sound processing, complex tests of musical ability also tap into other shared mechanisms.     

MUSIC OF THE SIKH DIASPORA: DEVOTIONAL SOUNDS,MUSICAL MEMORY AND CULTURAL IDENTITY

This paper explores the role of devotional music in the construction of Sikh identity in diasporic contexts. In particular, it examines a heterodox Sikh community in the UK and an orthodox Sikh community in Hong Kong from a comparative perspective, showing how music helps to clarify continuities and discontinuities in Sikhism worldwide. I provide ethnographic accounts of musical performances in different locales within gurdwara-s. Following a summary of current conventions in Sikh music performance and pedagogy, two ethnographic accounts are provided. The first is a musical ethnography of the Namdhari Gurdwara in Leicester where Hindustani classical music is performed alongside traditional ritual genres. The second site is a similar ethnographic study of the Khalsa Diwan Gurdwara in Hong Kong where the issues of diasporic identity and musical memory are foregrounded.     

“THE PEOPLE OF THIS COUNTRY HAVE HAD ENOUGH OF EXPERTS”: IN DEFENSE OF THE “ELITES” OF THE SCIENCE‐AND‐RELIGION DEBATE

This article takes a critical stance on John H. Evans's 2018 book, Morals Not Knowledge: Recasting the Contemporary U.S. Conflict between Religion and Science. Highlighting the significance of the book for the science‐and‐religion debate, particularly the book's emphasis on moral questions over knowledge claims revealed in social‐scientific studies of the American public, I also suggest that the distinction between the “elites” of the academic science‐and‐religion field and the religious “public” is insufficiently drawn. I argue that various nuances should be taken into account concerning the portrayal of “elites,” nuances which potentially change the way that “conflict” between science and religion is envisaged, as well as the function of the field. Similarly, I examine the ways in which the book construes science and religion as distinct knowledge systems, and I suggest that, from a theological perspective—relevant for much academic activity in science and religion—there is value in seeing science and religion in terms of a single knowledge system. This perspective may not address the public's interest in moral questions directly—important as they are—but nevertheless it fulfils the academic function of advancing the frontiers of human knowledge and self‐understanding.     

Using a multi‐feature paradigm to measure mismatch responses to minimal sound contrasts in children with cochlear implants and hearing aids

Our aim was to explore whether a multi‐feature paradigm (Optimum‐1) for eliciting mismatch negativity (MMN) would objectively capture difficulties in perceiving small sound contrasts in children with hearing impairment (HI) listening through their hearing aids (HAs) and/or cochlear implants (CIs). Children aged 5–7 years with HAs, CIs and children with normal hearing (NH) were tested in a free‐field setting using a multi‐feature paradigm with deviations in pitch, intensity, gap, duration, and location. There were significant mismatch responses across all subjects that were positive (p‐MMR) for the gap and pitch deviants (F(1,43) = 5.17, p = 0.028 and F(1,43) = 6.56, p = 0.014, respectively) and negative (MMN) for the duration deviant (F(1,43) = 4.74, p = 0.035). Only the intensity deviant showed a significant group interaction with MMN in the HA group and p‐MMR in the CI group (F(2,43) = 3.40, p = 0.043). The p‐MMR correlated negatively with age, with the strongest correlation in the NH subjects. In the CI group, the late discriminative negativity (LDN) was replaced by a late positivity with a significant group interaction for the location deviant. Children with severe HI can be assessed through their hearing device with a fast multi‐feature paradigm. For further studies a multi‐feature paradigm including more complex speech sounds may better capture variation in auditory processing in these children.     

The Effect of Music‐Induced Mood on Aggressive Affect,Cognition, and Behavior1

Two studies explored the role of pleasant music in buffering the adverse effects of provocation. In the first study, 111 participants listened to aversive, pleasant, or no music before receiving a provocation and completing a measure of aggressive behavior. Participants exposed to pleasant music reported more positive mood. Those in the aversive music condition reported more negative mood than did those in the no‐music control condition. The more positive the music‐induced mood, the less anger was experienced and aggressive behavior was shown after provocation. In Study 2 (N = 142), listening to pleasant music reduced anger following provocation, compared to aversive music and a no‐music control condition. Pleasant music also increased response latencies in recognizing aggressive words after provocation.     

Information‐Theoretic Measures Predict the Human Judgment of Rhythm Complexity

To formalize the human judgment of rhythm complexity, we used five measures from information theory and algorithmic complexity to measure the complexity of 48 artificially generated rhythmic sequences. We compared these measurements to human prediction accuracy and easiness judgments obtained from a listening experiment, in which 32 participants guessed the last beat of each sequence. We also investigated the modulating effects of musical expertise and general pattern identification ability. Entropy rate and Kolmogorov complexity were correlated with prediction accuracy, and highly correlated with easiness judgments. A logistic regression showed main effects of musical training, entropy rate, and Kolmogorov complexity, and an interaction between musical training and both entropy rate and Kolmogorov complexity. These results indicate that information‐theoretic concepts capture some salient features of the human judgment of rhythm complexity, and they confirm the influence of musical expertise on complexity judgments.     

‘MusiMath’ and ‘Academic Music’ – Two music‐based intervention programs for fractions learning in fourth grade students

Music and mathematics require abstract thinking and using symbolic notations. Controversy exists regarding transfer from musical training to math achievements. The current study examined the effect of two integrated intervention programs representing holistic versus acoustic approaches, on fraction knowledge. Three classes of fourth graders attended 12 lessons on fractions: One class attended the ‘MusiMath’ holistic program (n = 30) focusing on rhythm within the melody. Another class attended the ‘Academic Music’ acoustic program (Courey et al., Educ Stud Math 81:251, 2012) (n = 25) which uses rhythm only. The third class received regular fraction lessons (comparison group, n = 22). Students in both music programs learned to write musical notes and perform rhythmic patterns through clapping and drumming as part of their fraction lessons. They worked toward adding musical notes to produce a number (fraction), and created addition/subtraction problems with musical notes. The music programs used a 4/4 time signature with whole, half, quarter and eighth notes. In the math lessons, the students learned the analogy between musical durations and fractions, but also practiced fractions other than . Music and math were assessed before, immediately following, and 3‐ and 6‐months post‐intervention. Pre‐ to post‐intervention analyses indicated that only the ‘MusiMath’ group showed greater transfer to intervention‐trained and untrained fractions than the comparison group. The ‘Academic Music’ group showed a trend on trained fractions. Although both music groups outperformed the comparison group 3‐ and 6‐months post‐intervention on trained fractions, only the ‘MusiMath’ group demonstrated greater gains in untrained fractions. Gains were more evident in trained than in untrained fractions. A video abstract of this article can be viewed at https://youtu.be/uJ_KWWDO624     

It's not what you play,it's how you play it: Timbre affects perception of emotion in music

Salient sensory experiences often have a strong emotional tone, but the neuropsychological relations between perceptual characteristics of sensory objects and the affective information they convey remain poorly defined. Here we addressed the relationship between sound identity and emotional information using music. In two experiments, we investigated whether perception of emotions is influenced by altering the musical instrument on which the music is played, independently of other musical features. In the first experiment, 40 novel melodies each representing one of four emotions (happiness, sadness, fear, or anger) were each recorded on four different instruments (an electronic synthesizer, a piano, a violin, and a trumpet), controlling for melody, tempo, and loudness between instruments. Healthy participants (23 young adults aged 18–30 years, 24 older adults aged 58–75 years) were asked to select which emotion they thought each musical stimulus represented in a four-alternative forced-choice task. Using a generalized linear mixed model we found a significant interaction between instrument and emotion judgement with a similar pattern in young and older adults (p < .0001 for each age group). The effect was not attributable to musical expertise. In the second experiment using the same melodies and experimental design, the interaction between timbre and perceived emotion was replicated (p < .05) in another group of young adults for novel synthetic timbres designed to incorporate timbral cues to particular emotions. Our findings show that timbre (instrument identity) independently affects the perception of emotions in music after controlling for other acoustic, cognitive, and performance factors.     

Off the beaten track: Freud,sound and music.Statement of a problem and some historico‐critical notes1

The authors note that the element of sound and music has no place in the model of mental functioning bequeathed to us by Freud, which is dominated by the visual and the representational. They consider the reasons for this exclusion and its consequences, and ask whether the simple biographical explanation offered by Freud himself is acceptable. This contribution reconstructs the historical and cultural background to that exclusion, cites some relevant emblematic passages, and discusses Freud’s position on music and on the aesthetic experience in general. Particular attention is devoted to the relationship between Freud and Lipps, which is important both for the originality of Lipps’s thinking in the turn‐of‐the‐century debate and for his ideas on the musical aspects of the foundations of psychic life, at which Freud ‘stopped’, as he himself wrote. Moreover, the shade of Lipps accompanied Freud throughout his scientific career from 1898 to 1938. Like all foundations, that of psychoanalysis was shaped by a system of inclusions and exclusions. The exclusion of the element of sound and music is understandable in view of the cultural background to the development of the concepts of the representational unconscious and infantile sexuality. While the consequences have been far reaching, the knowledge accumulated since that exclusion enables us to resume, albeit on a different basis, the composition of the ‘unfinished symphony’ of the relationship between psychoanalysis and music.     

Characterizing the Musical Phenotype in Individuals With Williams Syndrome

Williams Syndrome (WS), a neurodevelopmental genetic disorder, is characterized by peaks and valleys in mental function: substantial impairments in cognitive domains such as reasoning, arithmetic ability, and spatial cognition, alongside relatively preserved skills in social domains, face processing, language, and music. We report the results of a comprehensive survey on musical behaviors and background administered to the largest sample of individuals with WS to date (n = 118, mean age = 20.4), and compare the results to those obtained from a control group of typically developing normal individuals (n = 118, mean age = 20.9) and two groups of individuals with other neurodevelopmental genetic disorders, Autism (n = 30, mean age = 18.2) and Down Syndrome (n = 40, mean age = 17.2). Individuals with WS were found to be rated higher in musical accomplishment, engagement, and interest than either of the comparison groups, and equivalent on most measures to the control group. Compared to all other groups including the controls, the WS individuals displayed greater emotional responses to music, manifested interest in music at an earlier age, and spent more hours per week listening to music. In addition, the effects of music listening (whether positive or negative) tended to last longer in the WS group. A factor analysis extracted seven principal components that characterize the musical phenotype in our sample, and discriminant function analysis of those factors was able to successfully predict group membership for the majority of cases. We discuss the neurobiological implications of these findings.     

The Emergence of Sound Art: Opening the Cages of Sound

This article discusses listening that is appropriate to sound art and the associated changes in the paradigms, or thought patterns, that occur so often when we move from visual to aural perception. The distinction between historically accepted and rejected sounds is used to show how putting sounds in cages has fashioned a form of listening and of life. Twentieth‐century experimental music and, especially, the music and the reflections of John Cage have opened these cages of sound and at the same time weakened the visual paradigm for intellectual knowledge. This article examines sound art as a place where artistic practices coincide with certain theoretical issues centered on sound. The centrality of sound is approached first, and music and sound art are discussed in relation to space. Second, the attention to sound in the reception of prominent examples of sound art focuses on site‐specific relationships with the city and with listening. The article concludes by affirming the need for an aesthetic reflection that takes into consideration the implications of these profound transformations. However, that is another cage yet to be opened.     

How do location and control over the music influence listeners’ responses?

This study uses Mehrabian and Russell's ( 1974 ) Pleasure‐Arousal‐Dominance (PAD) model to consider how responses to both the music heard and overall in‐situ listening experience are influenced by the listener's degree of control over music selected for a particular listening episode and the location in which the listening takes place. Following recruitment via campus advertisements and a university research participation program, 216 individuals completed a background questionnaire and music listening task in a 3 (location) × 2 (experimenter‐ or participant‐selected music) design. After the listening task, participants completed a short questionnaire concerning the music they heard and the overall in‐situ listening experience. Results demonstrated that there was a positive relationship between control and liking for the music and episode, whether the former was considered in terms of: (1) whether the music was self‐selected or experimenter‐selected or (2) overt ratings of perceived control. Furthermore, the location and liking for the music were related to people's judgments of their enjoyment of the overall experience. This research indicates that the PAD model is a useful framework for understanding everyday music listening and supports the contention that, in a musical context, dominance may be operationalized as control over the music.     

ISLAM AND BIOETHICS IN THE CONTEXT OF “RELIGION AND SCIENCE”

This paper places “Islam and bioethics” within the framework of “religion and science” discourse. It thus may be seen as a complement to the paper by Henk ten Have ( 2013 ) with which this thematic section in Zygon: Journal of Religion and Science opens, which places “Islam and bioethics” in the context of contemporary bioethics. It turns out that in Zygon there have been more submitted articles on Islam and bioethics than on any other Islam‐related topic. This may be a consequence of the global nature of the bioethical issues, driven by advancement in science and technology, which allows for conversation across cultural and religious boundaries even when the normative references and argumentative methods are tradition‐specific.     

ON THE ROAD WITH RELIGION‐AND‐SCIENCE AND THE ROMANCE OF THE PAST

This essay responds to the question “Where Are We Going?Zygon and the Future of Religion‐and‐Science” and was first presented on 9 May 2009 at a symposium honoring Philip Hefner's editorship of Zygon. It offers four suggestions for the future of religion‐and‐science: Ask big questions; encourage cultural literacy in the public sphere; bring a critical voice to other academic disciplines; and include the history of philosophy.     

Musical Training,Bilingualism, and Executive Function: A Closer Look at Task Switching and Dual‐Task Performance

This study investigated whether musical training and bilingualism are associated with enhancements in specific components of executive function, namely, task switching and dual‐task performance. Participants (n = 153) belonging to one of four groups (monolingual musician, bilingual musician, bilingual non‐musician, or monolingual non‐musician) were matched on age and socioeconomic status and administered task switching and dual‐task paradigms. Results demonstrated reduced global and local switch costs in musicians compared with non‐musicians, suggesting that musical training can contribute to increased efficiency in the ability to shift flexibly between mental sets. On dual‐task performance, musicians also outperformed non‐musicians. There was neither a cognitive advantage for bilinguals relative to monolinguals, nor an interaction between music and language to suggest additive effects of both types of experience. These findings demonstrate that long‐term musical training is associated with improvements in task switching and dual‐task performance.     

Emotional experience in music fosters 18‐month‐olds' emotion–action understanding: a training study

We examine whether emotional experiences induced via music‐making promote infants' use of emotional cues to predict others' action. Fifteen‐month‐olds were randomly assigned to participate in interactive emotion training either with or without musical engagement for three months. Both groups were then re‐tested with two violation‐of‐expectation paradigms respectively assessing their sensitivity to some expressive features in music and understanding of the link between emotion and behaviour in simple action sequences. The infants who had participated in music, but not those who had not, were surprised by music–face inconsistent displays and were able to interpret an agent's action as guided by her expressed emotion. The findings suggest a privileged role of musical experience in prompting infants to form emotional representations, which support their understanding of the association between affective states and action.