Heavy metal Muslims: the rise of a post-Islamist public sphere

This article explores the emergence of new, youth-oriented public spheres in the Middle East and North Africa through the lens of the burgeoning extreme music scenes across the region. I argue that the seeming incongruity of genres such as extreme heavy metal or gangsta rap becoming popular in the Muslim world is a reminder of the diversity of contemporary Islam; more deeply, it reveals that the borders between religious belief and seemingly secular practices in Muslim societies are increasingly porous, with politically marginalized young metalheads and their more activist religious peers sharing many of the same societal goals. These are greater autonomy and even democracy, the right for tolerance of divergent views, and the rejection of the hypocrisy, corruption and authoritarianism of their leaders. I conclude with an analysis of the political implications of a still tentative rapprochement between ostensibly secular artists and the religious forces who less than a decade ago were spearheading their persecution, and in some cases prosecution, across the region.     

Battling over the public sphere: Islamic reactions to the music of today

This article analyses discussions about music in the new public sphere of the Arab world. First, it focuses on what states do to control musical expressions and what functions religious actors have in that control. Four cases are looked into: Saudi Arabia, Egypt, Lebanon and Palestine. Then the article discusses theological arguments, in the public sphere, about music. The theologians are divided into three positions: moderates, hard-liners and liberals. It is argued that structural changes of the public sphere—especially with regards to new media and consumer culture—have caused a heated debate about music and morality. While hard-liners and moderates engage in a discussion about the legal and the forbidden in Islam, liberals stress the importance of allowing competing norms. Examples of extremist violence against musicians is discussed and contextualised.

Enhancing positive affect and divergent thinking abilities: Play some music and dance

This study compares the effect of dance on affect and cognition to music or exercise, in a young, non-clinical population. Participants were asked to complete tests of mood and creativity before and after spending 5 min either listening to music, dancing, cycling or sitting quietly. Both dancing and passively listening to music enhanced positive affect, decreased negative affect and reduced feelings of fatigue. Cycling and sitting quietly had no effect on positive mood or feelings of fatigue. Moreover, dancing and passively listening to music had dissociable effects on different aspects of creativity, with greater change in positive affect being associated with greater enhancement in measures of verbal and non-verbal creativity, respectively. We suggest that these findings support the use of either short duration dancing or passively listening to music as potentially powerful tools in enhancing emotional well-being and different aspects of divergent thinking in non-clinical settings.     

Competitive factors of electronic dance music festivals with Social Networking Service (SNS) citizenship behaviour of international tourists

This study examined the comparative advantages of prestige service labelling (VIP), online marketing, and image differentiation when applied as marketing strategies to build tourist loyalty as a component of citizenship behaviour. The participants were 220 African tourists attending the World Club Dome Korea 2017 festival event. Following data collection, we conducted a hierarchical regression analysis to determine how VIP, online marketing, and image differentiation influenced tourist social networking service (SNS) citizenship behaviour. The results suggest that VIP and image differentiation to positively predict SNS citizenship behaviour, whereas this was not the case for online marketing. VIP had a higher influence on tourist SNS citizenship behaviour than image differentiation. In summary, strategies to attract tourists with high purchasing power should include prestige service branding with clear image differentiation. This exclusivity could be applied to online ticketing services for their added value to tourism promotion.     

音乐干预对自闭症儿童语言障碍的影响

语言障碍是自闭症的核心症状之一,改善自闭症儿童的语言障碍对其日常生活具有重要意义。诸多研究证实音乐干预能够明显改善自闭症儿童的语言障碍。从干预材料的角度出发,音乐干预包括将音乐刺激与语言刺激严格匹配的音乐干预方法以及将音乐作为学习背景的音乐干预方法,二者均能有效促进自闭症儿童的语言表达和交流。目前最有代表性的自闭症语言障碍的音乐干预方法包括听觉动作通路训练(AMMT)、基于旋律的语言沟通治疗(MBCT)以及背景音乐干预方法。音乐干预方法的发展今后需着眼于音乐类型的选择、音乐与其他活动的结合,同时兼顾不同自闭症儿童群体的适用性以及音乐干预在生活中的推广。     

Emotions induced by operatic music: psychophysiological effects of music, plot, and acting: a scientist's tribute to Maria Callas

Operatic music involves both singing and acting (as well as rich audiovisual background arising from the orchestra and elaborate scenery and costumes) that multiply the mechanisms by which emotions are induced in listeners. The present study investigated the effects of music, plot, and acting performance on emotions induced by opera. There were three experimental conditions: (1) participants listened to a musically complex and dramatically coherent excerpt from Tosca; (2) they read a summary of the plot and listened to the same musical excerpt again; and (3) they re-listened to music while they watched the subtitled film of this acting performance. In addition, a control condition was included, in which an independent sample of participants succesively listened three times to the same musical excerpt. We measured subjective changes using both dimensional, and specific music-induced emotion questionnaires. Cardiovascular, electrodermal, and respiratory responses were also recorded, and the participants kept track of their musical chills. Music listening alone elicited positive emotion and autonomic arousal, seen in faster heart rate, but slower respiration rate and reduced skin conductance. Knowing the (sad) plot while listening to the music a second time reduced positive emotions (peacefulness, joyful activation), and increased negative ones (sadness), while high autonomic arousal was maintained. Watching the acting performance increased emotional arousal and changed its valence again (from less positive/sad to transcendent), in the context of continued high autonomic arousal. The repeated exposure to music did not by itself induce this pattern of modifications. These results indicate that the multiple musical and dramatic means involved in operatic performance specifically contribute to the genesis of music-induced emotions and their physiological correlates.     

On the Complexity of Classical Guitar Playing: Functional Adaptations to Task Constraints

The authors performed a behavioral study of the complexity of left-hand finger movements in classical guitar playing. Six professional guitarists played movement sequences in a fixed tempo. Left-hand finger movements were recorded in 3 dimensions, and the guitar sound was recorded synchronously. Assuming that performers prefer to avoid extreme joint angles when moving, the authors hypothesized 3 complexity factors. The results showed differential effects of the complexity factors on the performance measures and on participants' judgments of complexity. The results demonstrated that keeping the joints in the middle of their range is an important principle in guitar playing, and players exploit the available tolerance in timing and placement of the left-hand fingers to control the acoustic output variability.     

Neural correlates of music recognition in Down syndrome

The brain mechanisms that subserve music recognition remain unclear despite increasing interest in this process. Here we report the results of a magnetoencephalography experiment to determine the temporal dynamics and spatial distribution of brain regions activated during listening to a familiar and unfamiliar instrumental melody in control adults and adults with Down syndrome (DS). In the control group, listening to the familiar melody relative to the unfamiliar melody, revealed early and significant activations in the left primary auditory cortex, followed by activity in the limbic and sensory-motor regions and finally, activation in the motor related areas. In the DS group, listening to the familiar melody relative to the unfamiliar melody revealed increased significant activations in only three regions. Activity began in the left primary auditory cortex and the superior temporal gyrus and was followed by enhanced activity in the right precentral gyrus. These data suggest that familiar music is associated with auditory–motor coupling but does not activate brain areas involved in emotional processing in DS. These findings reveal new insights on the neural basis of music perception in DS as well as the temporal course of neural activity in control adults.     

Neural mechanisms involved in the oral representation of percussion music: An fMRI study

Numerous music cultures use nonsense syllables to represent percussive sounds. Covert reciting of these syllable sequences along with percussion music aids active listeners in keeping track of music. Owing to the acoustic dissimilarity between the representative syllables and the referent percussive sounds, associative learning is necessary for the oral representation of percussion music. We used functional magnetic resonance imaging (fMRI) to explore the neural processes underlying oral rehearsals of music. There were four music conditions in the experiment: (1) passive listening to unlearned percussion music, (2) active listening to learned percussion music, (3) active listening to the syllable representation of (2), and (4) active listening to learned melodic music. Our results specified two neural substrates of the association mechanisms involved in the oral representation of percussion music. First, information integration of heard sounds and the auditory consequences of subvocal rehearsals may engage the right planum temporale during active listening to percussion music. Second, mapping heard sounds to articulatory and laryngeal gestures may engage the left middle premotor cortex.     

Uses of music and psychological well-being among the elderly

A questionnaire was sent to a random sample of 500 community living older adults in Sweden (aged 65–75 years). The questionnaire assessed uses of music in everyday life: frequency of listening, situations where music is encountered, emotional responses to music, and motives for listening (i.e., listening strategies). Also, different facets of psychological well-being (e.g., affective well-being, life satisfaction, and eudaimonic well-being) and selected background variables (e.g., education level, health status, activity level, and Big-5 personality characteristics) were assessed. Results showed that listening to music is a common leisure activity encountered in many everyday situations, and that listening to music is a frequent source of positive emotions for older adults. Also, the participants reported using a variety of listening strategies related to emotional functions (e.g., pleasure, mood regulation, and relaxation) and issues of identity, belonging, and agency. The associations between listening strategies and well-being were explored through correlation and multiple regression analyses where the influence of background variables was controlled for. Health status and personality were the most important predictors of well-being, but some listening strategies were also significantly associated with psychological well-being. The results give important insights into older adults’ uses of music in everyday life and give clues regarding possible relationships between musical activities and well-being.     

Alexithymia is associated with an augmenter profile, but not only: Evidence for anticipation to arousing music

Grynberg, D., Davydov, D. M., Vermeulen, N. & Luminet, O. (2012). Alexithymia is associated with an augmenter profile, but not only: Evidence for anticipation to arousing music. Scandinavian Journal of Psychology 53, 375-381. It has been suggested that high alexithymia scorers have an 'augmenter' profile which amplifies their physiological and subjective responses to highly arousing stimuli. The aim of this study was to test this theory using several physiological measures. Participants listened to musical excerpts either in a 'weak-to-strong' or a 'strong-to-weak' order of arousing levels of stimuli. The results show that alexithymia was associated with an augmenter profile for subjective reports for the most arousing stimulus and with stronger skin conductance level responses in the 'strong-to-weak' order. These results partially support the augmenter profile and reveal that alexithymia may be associated with higher anticipation for the most arousing excerpt.     

明清之际伊斯兰教中国化的“以儒诠经”模式

明清之际的以儒诠经,内涵之中历史地出现了一个特殊知识群体,自然地包含有四个目的、两大手段和三种具体作为,用话语表述,该文化创造模式可以解释为:明清之际我国伊斯兰教的以儒诠经,是回儒这个文化兼通的特殊知识群体,立足中国,采用汉语,在本土社会语境中,对该宗教经义所做出的再诠释,过程中于公的目的是兴教、明道和补足百家之不足,于私的目的是立个人不朽之言,因而针对本土元素展开了批判(为先),继而有选择地加以借用和融会贯通,同时为伊斯兰教正本清源,再通过以文会友,最终收获了针对外教的释疑并取得某种认同,从而为伊斯兰教适应本土社会赢得了有利机会和条件。     

消费时代大众文化的审美伦理与哲学省思

随着经济全球化的发展,以消费主义为标志的后现代文化思潮对中国当代社会的全方位浸染已是在所难免,以情感制作与“快适伦理”为表征的“后情感主义”审美趋向日渐明朗。然而,大众文化承诺给人们的欢乐神话与身体解放,却往往陷入娱乐透支后的身心疲乏和性感聚焦后的精神空幻,形象的欲望满足取代了文化的意义追索,审美正义与文化伦理成为亟待解决的现实问题。消费时代的大众文化完全无视生命中的“痛苦”、“严肃”、“庄严”与“意志”一端,沉溺于“人生幻觉”“瞬间的快感”,在世俗娱乐中丧失起码的自知与清明,不但以“媚俗”为荣甚至以“恶俗”为乐,踏越了文化伦理的底线,使中国文化道统愈陷困境。     

The exemplarities of artworks: Heidegger, <Emphasis Type="Italic">Shoes</Emphasis>, and <Emphasis Type="Italic">Pixar</Emphasis>

Heidegger’s essays “The Origin of the Work of Art” and “The Question Concerning Technology” provide a revealing insight into the importance of exemplarity to artworks. Originally the notion that exemplarity is essential to art is Kantian: As Kant puts it, since originality can produce “original nonsense, [beautiful art’s] products must be models, i.e. exemplary.” However, what Heidegger recognizes is that even if exemplarity allows us to take art seriously in spite of its excesses, it exposes the artwork to new dangers: on the one hand, to the “world withdrawal of the work” as occurs in consignment to the museum shelf, and on the other, to the conditions of Enframing as “challenging-forth,” under which art is taken as a means to an end—dangers which point to the division of artworks between “fine” art and “popular” art. Since Heidegger’s approach favors the former, we will try to gain new critical insight by considering his arguments in the light of a “popular” work that allows us to formulate an exemplarity of popular art as the necessary complement to that of traditional art. By means of an understanding of the exemplarities (in the plural) of artworks, we will be able to reconsider the significance of Heidegger’s notions of reliability, Enframing, and poiesis for our current technological conditions.

浅论伊儒会通——以王岱舆、刘智为观察点

从明末至清末,中国伊斯兰教界发起了一场以译撰为特点,以会通儒家与伊斯兰教为内容的自觉文化活动,期间涌现了许多思想家,而王岱舆、刘智是其中的杰出代表。王岱舆首开了会通活动,而刘智则将会通活动推向了最高潮,他们的著作,无论在会通立场、会通方法、乃至理论体系构建方面,都进行了积极探索,为同时代乃至后代学者提供了有益的借鉴,为伊斯兰教中国化做出了巨大贡献。     

Endangered Girls and Incendiary Objects: Unpacking the Discourse on Sexualization

In this article, we deconstruct the epistemological framework underlying recent discussions on the sexualization of girls. Conducting a close textual analysis of scholarly and activist writings and their media coverage in Australia, Britain and the United States we examine the foundational assumptions of the argument against sexualization and explore its potential social and political implications. It is our contention that the conceptualization of sexualization as both a process and outcome relies on an ambivalent and overly deterministic model which makes the danger of sexualizing materials uniform, but their outcome gender specific. The unintended consequence of this discourse is that girls are framed as passive recipients and their sexuality becomes the result of and reduced to sexualization.

The influence of two years of school music training in secondary school on visual and auditory memory

The present study tested the effect of an extended music curriculum (EMC) for two years in secondary school, consisting of musical instrument, auditory perception, and music theory training, on children's visual and auditory memory. We tested 10-year-old children who had just started EMC and children without EMC (T0) in visual and auditory memory and retested the same children two years later (T1) to observe the effects of school music training. Confounding variables, like intelligence, socioeconomic status, extracurricular schooling, motivation to avoid work, and musical aptitude were controlled. Prior to the beginning of the music training no differences in the control variables and the memory variables between children with and without EMC were revealed. Children with EMC improved significantly from T0 to T1 in visual as well as in auditory memory. Such an improvement was not found for children without EMC. We conclude that extended school music training enhances children's visual and auditory memory.