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.     

Timeless Traces of Temporal Patterns

Long‐exposure photographs present distinctive philosophical challenges. They do not quite look like things in motion. Experiences of such photos take time, but not in a way that mimics the time of the motion depicted. In fact, it would not be off base to worry that these photos fail, strictly speaking, to depict motion or things‐in‐time. And if they fail to depict motion, then it is an interesting question what, if anything, they succeed in depicting. These timeless traces of temporal patterns are thus a challenge to how we understand pictures. In addition to being representations, however, such photographs are recordings. They witlessly register aspects of scenes in a manner that can be replayed. The following shows that recording is a valuable and neglected tool for investigating representational practices. Aspects of what photos record also figure in their representational contents, and this provides a way of approaching the photography of events in time. This article proceeds by framing, and then answering, three questions. First, what do photos record about temporal patterns? Second, which aspects of such recordings also show up in photos’ representational contents? And third, do these pictures depict, rather than merely represent, such temporal patterns?     

BRIDGE OVER TROUBLED WATERS? THE MOST “CENTRAL” MEMBERS OF PSYCHOLOGY AND PHILOSOPHY ASSOCIATIONS CA. 1900

There are many different ways to assess the significance of historical figures. Often we look at the influence of their writings, or at the important offices they held with disciplinary institutions such as universities, journals, and scholarly societies. In this study, however, we took a novel approach: we took the complete memberships, ca. 1900, of four organizations—the American Psychological Association, the Western Philosophical Association, the American Philosophical Association, and the Southern Society for Philosophy and Psychology—and visualized them as a network. We then identified individuals who “bridged” between two or more of these groups and considered what might be termed their “centrality” to the psychological‐philosophical community of their time. First, we examined these figures qualitatively, briefly describing their lives and careers. Then we approached the problem mathematically, considering several alternative technical realizations of “centrality” and then explaining our reasons for choosing eigenvector centrality as the best for our purposes. We found a great deal of overlap among the results of the qualitative and quantitative approaches, but also some telling differences. J. Mark Baldwin, Edward Buchner, Christine Ladd Franklin, and Frank Thilly consistently emerged as highly central figures. Some more marginal figures such as Max Meyer, and Frederick J. E. Woodbridge, Edward A. Pace, Edward H. Griffin played interesting roles as well.     

Predictors of motivation to comply with social referents regarding one's romantic relationship

This research examined predictors of motivation to comply with social referents regarding one's romantic relationship. Two variables are argued to predict motivation to comply with the opinions of social network members: (a) social consequences of compliance and (b) perceived relationship expertise. Three studies examined the association of these variables with motivation to comply. Study 1 used survey research to demonstrate that these variables predict motivation to comply. Studies 2 and 3 experimentally manipulated social consequences of compliance and perceived relationship expertise, respectively, providing evidence of a causal connection between these variables and motivation to comply. Across three studies, the results support the role of social consequences of compliance and perceived relationship expertise in understanding social influences on romantic decision making.     

Maladjustment implications of self and group gender–role discrepancies: An ordered-discrepancy model

Deviation from personal ideals and group standards has maladaptive consequences. Using insights from self-categorization and social identity theories, an ordered-discrepancy model of maladjustment was proposed in which simultaneously deviating from both types of standards is associated with increased maladjustment for members of high status groups, except when such dual discrepancies imply that one is closer to one's ideals than is one's group. In the latter case, decreased maladjustment can be expected. For members of low status groups, discrepancies from ideals, but not from one's group, were expected to predict maladjustment. Patterns of deviations on dimensions of masculinity and femininity predicted maladjustment among men, a high status group, and women, a low status group, as hypothesized. Implications for social identity and self-categorization theories, and for gender–role research, are discussed. © 1997 by John Wiley & Sons, Ltd.     

The effect of interviewer guise upon gender self-report responses as a function of interviewee's self-monitoring position

Female high and low self-monitors were interviewed by a female experimenter who adopted either an androgynous or a feminine guise. An analysis of responses scored for femininity yielded a significant interaction between self-monitoring and interviewer guise which, when subjected to further analysis, revealed a significant simple effect for high self-monitors but not for low self-monitors. High self-monitors scored significantly higher on femininity when with the feminine guise interviewer, but lower when with the androgynous guise interviewer. © 1997 John Wiley & Sons, Ltd.     

Signifyin(g) within African American Classical Music: Linking Gates,Hip‐Hop,and Perkinson

Many authors have had occasion to explore the practice of signifyin(g), a seminal expressive concept within African American culture most often described as a rhetorical and literary device. Few, however, have examined the practice of signifyin(g) within African American musical composition in the European, or “classical,” style. This article explores the application of signifyin(g) as an analytical lens in the examination of “classical” music by African American composers, beginning with the previous investigation of signifyin(g) practices within other forms of African American music, ranging from Miles Davis's jazz standards to the lyrics of Nas and Cardi B. This exploration concludes with the analysis of a specific classical work by an African American composer (Coleridge‐Taylor Perkinson's Lament for Viola and Piano) as a case study.