What Is Philosophy of Music Education and Do We Really Need It?

The article deals with the problem of the disciplinary identification of thephilosophy of music education. It explores alternative approaches to thephilosophy of music education and its relation to musical pedagogy. On thebasis of this analysis an account of the philosophy of music education as aphilosophical discipline is suggested and its specific function identified.     

The Puzzle of Absolute Pitch

Absolute pitch—the ability to name or produce a note of particular pitch in the absence of a reference note—is generally considered to be extremely rare. However, it has been found that native speakers of two different tone languages—Mandarin and Vietnamese—display a remarkably precise form of absolute pitch in enunciating words. Given these findings, it is proposed that absolute pitch may have evolved as a feature of speech, analogous to other features such as vowel quality. It is also conjectured that tone–language speakers generally acquire this feature during the 1st year of life, in the critical period when infants acquire other features of their native language. For speakers of nontone languages, the acquisition of absolute pitch by rare individuals may be associated with a critical period of unusually long duration, so that it extends to the age at which the child can begin taking music lessons. According to this line of reasoning, the potential for acquiring absolute pitch is universal at birth, and can be realized by giving the infant the opportunity to associate pitches with verbal labels during the 1st year or so of life.     

“Living Turned Inside Out”: The Musical Expression of Psychotic and Schizoid Experience in Talking Heads' Remain in Light

The rock album form, advantageously suited for the artistic expression of intrapsychic experience, has been virtually ignored by analytic writers. Remain in Light by Talking Heads is presented as an example of an album that effectively utilizes the potentialities of this form to give powerful and disconcerting musical expression to a variety of psychotic and schizoid experiences, bringing to life the formulations for these phenomena of Bion, Winnicott, Guntrip, Ogden, Grotstein and others. The album suggests a variety of mechanisms by which sound and music may serve both defensive and compensatory functions in relation to these phenomena.     

Gender bias in the evaluation of new age music

Eminent composers in Western European art music continue to be predominantly male and eminence in contemporary pop music is similarly male dominated. One contributing factor may be the continuing under-valuation of women's music. Possible anti-female bias in a contemporary genre was investigated using the Goldberg paradigm to elicit judgments of New Age compositions. Since stronger stereotyping effects occur when information provided about individuals is sparse, fictitious male and female composers were presented either by name only or by name with a brief biography. Evidence for anti-female bias was found in the name-only condition and was stronger when liking for the music was controlled. Other findings were the tendency for females to give higher ratings, and the association of gender differences in liking of the music with ratings of quality in the name-only condition. These results are relevant to the design of formal assessment procedures for musical composition.     

《齐物论》与竹林玄学

《庄子》作为“三玄”之一,在魏晋玄学中大行其道。阮籍和嵇康是两位在任自然的旗帜下发挥庄子思想的名士。分析发现,阮籍对庄子的理解,大致来自《齐物论》。然《齐物论》对他的意义是双重的：既排遣其对现实的不满,又给因对现实的无能为力而游戏人生的生活态度提供掩饰。嵇康学理上的表现在于,其“声无哀乐”的见解,以乐论的形式,对《齐物论》中齐是非的观点作独特的补充,同时,却又在讨论人格的公（诚）私（伪）之分时,把它同是非问题联系起来,从而显露自己无法掩饰的价值立场。阮、嵇无论是言还是行的矛盾,都与庄子齐是非的悖论有关。     

The processing of rhythmic structures in music and prosody by children with developmental dyslexia and developmental language disorder

Rhythm perception seems to be crucial to language development. Many studies have shown that children with developmental dyslexia and developmental language disorder have difficulties in processing rhythmic structures. In this study, we investigated the relationships between prosody and musical processing in Italian children with typical and atypical development. The tasks aimed to reproduce linguistic prosodic structures through musical sequences, offering a direct comparison between the two domains without violating the specificities of each one. About 16 Typically Developing children, 16 children with a diagnosis of Developmental Dyslexia, and 16 with a diagnosis of developmental language disorder (age 10–13 years) participated in the experimental study. Three tasks were administered: an association task between a sentence and its humming version, a stress discrimination task (between couples of sounds reproducing the intonation of Italian trisyllabic words), and an association task between trisyllabic nonwords with different stress position and three‐notes musical sequences with different musical stress. Children with developmental language disorder perform significantly lower than Typically Developing children on the humming test. By contrast, children with developmental dyslexia are significantly slower than TD in associating nonwords with musical sequences. Accuracy and speed in the experimental tests correlate with metaphonological, language, and word reading scores. Theoretical and clinical implications are discussed within a multidimensional model of neurodevelopmental disorders including prosodic and rhythmic skills at word and sentence level.     

背景音乐对消费者的影响：音乐契合度的视角

音乐契合度指的是背景音乐与广告、消费环境及商品特征等消费要素的契合程度。背景音乐与消费要素的契合可以体现在音乐特性、社会隐义和文化意蕴三个方面,这些契合程度能够对消费者的认知、情绪和行为等方面产生影响。若背景音乐的音乐特性与消费要素之间存在较高契合度,则能够提升消费者的注意效果、加强对商品的记忆并提升购买意图;背景音乐的社会隐义也能与消费要素产生契合关系,两者之间的契合程度决定了消费者对品牌的态度、情绪状态、对商品的记忆和选择;背景音乐与消费要素在文化意蕴方面的高度契合则能够促进消费者对品牌的态度、提升购买意愿、促进购买行为。未来研究应探索背景音乐更多的结构属性,进一步挖掘背景音乐影响消费者的边界条件,突破现有理论探索更深入的理论机制,并进一步探索音乐契合对于消费者认知和情绪的影响效应及其影响机制。     

An emerging local musical voice at Grahamstown Anglican Cathedral: experiments in localisation

This article is an introduction to and analysis of experiments in localisation at Grahamstown Anglican Cathedral. To this end, three songs are presented, each composed or arranged by the junior choristers of the cathedral choir. The method of composition/arrangement is loosely based on experimental workshops conducted by David Dargie in the 1970s and 1980s with people across Southern Africa. The texts and music of the songs are analysed, with the express purpose of determining to what extent Southern African cultures have interacted with western cultures. A method of categorisation, derived from models developed by Huib Schippers and Akin Euba, is used to determine the depth of cultural contact. The author finds that in two of the songs there is evidence of creative and meaningful mingling of local and western cultures. The third song, being simply an arrangement of a local song, is more obviously Southern African, although it too shows influence of western harmonic conventions, albeit more superficially.     

Engaging with arts-based research: a story in three parts

Qualitative psychology researchers of today face numerous practical, ethical, political, and theoretical challenges. We have often asked ourselves how we might respond to these multiple and complex challenges. On our evolving research journeys, we have found that arts-based methodologies offer one effective response. In this article, we explore our experiences of doing arts-based research in psychological contexts, by sharing and reflecting on three short stories. The stories illustrate how each arts-based project has required of us three distinct waves of engagement: interdependent engagement with people and place, aesthetic engagement with sense making processes, and emotional engagement with and of audiences. We use the story form to evoke each wave of engagement because it allows us to communicate the qualities of that engagement without finalising, foreclosing, or restricting the variety of ways arts-based research might be conducted.