The COVID-19 pandemic has brought the live music industry to an abrupt halt; subsequently, musicians are looking for ways to replicate the live concert experience virtually. The present study sought to investigate differences in aesthetic judgments of a live concert vs. a recorded concert, and whether these responses vary based on congruence between musical artist and piece. Participants made continuous ratings of their felt pleasure either during a live concert or while viewing an audiovisual recorded version of the same (...) joint concert given by a university band and a United States Army band. Each band played two pieces: a United States patriotic piece and a non-patriotic piece. Results indicate that, on average, participants reported more pleasure while listening to pieces that were congruent, which did not vary based on live vs. lab listening context: listeners preferred patriotic music when played by the army band and non-patriotic music when played by the university band. Overall, these results indicate that felt pleasure in response to music may vary based on listener expectations of the musical artist, such that listeners prefer musical pieces that “fit” with the particular artist. When considering implications for concerts during the COVID-19 pandemic, our results indicate that listeners may experience similar degrees of pleasure even while viewing a recorded concert, suggesting that virtual concerts are a reasonable way to elicit pleasure from audiences when live performances are not possible. (shrink)

The subject of the study is the late Soviet underground rock song both in the general context of Soviet popular culture and in the context of patriotic discourse in the Soviet popular song of the 1960s-1980s. The correlation of various segments of Soviet popular music and their access to mass communication media, the phenomenon of the transformation of rock music from a marginal subculture into one of the segments of popular Soviet song is considered. Concrete examples demonstrate (...) the content versatility of an uncensored Soviet rock song, in particular, its contribution to patriotic discourse. The duration and stability of the existence of the considered variations of patriotic discourse are considered. The main conclusions of the study include: -the development of mass/popular songs is directly dependent on the development of mass communication and access to them; -in the 1960s-1980s, the Soviet state lost its monopoly on the ownership of means of delivering music content to the listener; - by the early 1980s Soviet rock music ceased to be a copy of the Western model and became a Soviet/Russian song genre based on domestic melodics, Russian literary poetic tradition, etc.; -the access to the means of delivering song content turned rock song into a segment of Soviet popular music, both censored and in uncensored versions; -the socio-political content in general and the patriotic theme in particular were not an attribute exclusively of the official Soviet song, but found their expression in the work of the authors of the underground rock scene; - the Soviet popular uncensored song made the patriotic discourse much more diverse, rich, sharp, etc. - the identified interpretations of patriotic discourse have a stable existence, being actualized in the modern media environment. (shrink)

"The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy (...) objects and the contentiousness of deploying kitsch as a term in these debates. The buzzing activity of the internet provides much of the raw material for his arguments. Through his close reading of both the works themselves and the public response to them, Emmer once more focuses attention on the competing and overlapping attitudes towards kitsch and the way in which it and its semantic cousins remain a viable and valuable resource with which to police the borders that surround the artworld. Ultimately, his contribution further grounds a wider premise operative in this collection--namely, that a simple and rigid dichotomy of kitsch and (high) art does not and indeed cannot capture the elusive and mercurial nature of kitsch." --from the editor's introduction. (shrink)

Aetiological poetry tends to be mature poetry in both a literary and a political sense. Interest in antiquarian lore belongs in general to a poet's middle and later years when youthful and audacious quests for what is avant-garde and anti-establishment have yielded to conservatism and a desire to preserve the past. Propertius and Ovid both turned to aetiological poetry after a long apprenticeship in amatory ‘nugae’ which enabled them, like their predecessor, Callimachus, to embellish their work with a diversity of (...) artistic devices founded on considerable poetic skill and literary experience. With this, a vital ploy to engage the sympathy of a sophisticated audience, went the poise and urbanity with which the aetiological poet found humour in the pose of earnest researcher, in the naivety of primitive cult and in clever literary adaptations. Moreover, dedication to a form of writing essentially nationalist and conservative encouraged a tone of patriotic pride and allusions, even compliments, to the ruling powers. In the light of such considerations we may examine Ovid's account of the ‘Ludi Megalenses’. The ‘Megalensia’ furnished Ovid with a goddess who had enjoyed fame and even notoriety in the pages of Roman literature. In addition to showing a poetic and neoteric interest in the orgiastic elements of her cult and the alien music of her retinue Roman poetry could reflect too the awe and reverence inspired of old by the Great Mother and expressed in the Greek poets, whom Lucretius claimed as his sources in his powerfully beautiful excursus on Cybele worship. Again, Cybele's importance in Rome had been augmented by her Trojan origins, concerning which a canonical Augustan theology had been established by Vergil in the Aeneid. (shrink)

Purpose: A poetic work of fiction haunts the base of the Statue of Liberty. The act overshadowed the original tribute to the Civil War victory and the Emancipation Proclamation. Abraham Lincoln's praises of the Black American military fell silent. Eurocentrists shrouded centuries of genius and scaled-down Black American mastery. Sagas of barrier-breaking Olympians, military heroes, Wild West pioneers, and inventors ended as forgotten footnotes. Today, countries around the world fetishize Black American history and culture to the point of ethnocide. The (...) real-time case study of Woni Spotts explores the phenomenon. Until ancient traditions evolve with authenticity, global cultures will wither and die. The presented research chronicles over half a millennium of archives. Lists with names, dates, and genealogies seal the Black American legacy in stone. Methodology: The presented research for case studies draws from archival data, dated events, news articles, and an interview with Woni Spotts. The case studies generated three lists. Fifty sports and competitions were dated and cataloged. The athletes were analyzed by a genealogist. Forty music and dance genres were cataloged by publishing or recording dates. The artists were analyzed by a genealogist. Copyright infringements were noted. Inventors were researched for U.S. patents. NASA astronauts and inventors were analyzed by a genealogist. Findings: The presented research showed centuries of untold, reframed, stigmatized, and fetishized Black American history and culture. In the case studies, foreigners of African descent (Africans, Caribbeans, Central Americans, and South Americans) practiced ethnocidal behavior in concert with European descendants. Prolific abolitionists, patriots, politicians, and inventors were written out of history. Superstar athletes were obstructed or outshined by fictional Recommendations: Case studies showed centuries of fragmented narratives created biases and distortions. Black Americans were written out of history, reframed as background characters, stigmatized with skewed statistics, and fetishized globally to the point of ethnocide. The presented research stands as a vital resource for preservationists. Music and dance genre architects were solidified by publishing and recording dates. Athletic events, inventions, and NASA scientists were recorded. (shrink)

What is Life? This is the question asked by Denis Noble in this very personal and at times deeply lyrical book. Noble is a renowned physiologist and systems biologist, and he argues that the genome is not life itself: to understand what life is, we must view it at a variety of different levels, all interacting with each other in a complex web. It is that emergent web, full of feedback between levels, from the gene to the wider environment, that (...) is life. (shrink)

In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels of (...) automation and his ability to respond to emerging hazard or assessing driver’s ability to monitor the vehicle performing operational tasks in higher levels of automation. Unfitted DFS (e.g., drowsiness) may impact the driver ability respond to taking over abilities. This paper reviews the most appropriate psychophysiological indices in naturalistic driving while considering the DFS through exogenous sensors, providing the more efficient trade-off between reliability and intrusiveness. The DFS also originates from kinematic data of the vehicle, thus providing information that indirectly relates to drivers behaviour. The whole data should be synchronously processed, providing a diagnosis on the DFS, and bringing it to the attention of the decision maker in real time. Next, making the information available can be permanent or intermittent (or even undelivered), and may also depend on the automation level. Such interface can include recommendations for decision support or simply give neutral instruction. Mapping of relevant psychophysiological and behavioural indicators for DFS will enable practitioners and researchers provide reliable estimates, fitted to the level of automation. (shrink)

We argue that a formal semantics for music can be developed, although it will be based on very different principles from linguistic semantics and will yield less precise inferences. Our framework has the following tenets: Music cognition is continuous with normal auditory cognition. In both cases, the semantic content derived from an auditory percept can be identified with the set of inferences it licenses on its causal sources, analyzed in appropriately abstract ways. What is special about music (...) semantics is that it aggregates inferences based on normal auditory cognition with further inferences drawn on the basis of the behavior of voices in tonal pitch space. This makes it possible to define an inferential semantics but also a truth-conditional semantics for music. In particular, a voice undergoing a musical movement m is true of an object undergoing a series of events e just in case there is a certain structure-preserving map between m and e. Aspects of musical syntax might be derivable on semantic grounds from an event mereology, which also explains some cases in which tree structures are inadequate for music. Intentions and emotions may be attributed at several levels, and we speculate on possible explanations of the special relation between music and emotions. (shrink)

We propose an approach reconciling the ultimate-level explanations proposed by Savage et al. and Mehr et al. as to why music evolved. We also question the current adaptationist view of culture, which too often fails to disentangle distinct fitness benefits.

Music performance anxiety is a commonly present topic among musicians. Most studies on MPA investigated effects of a more general occurrence of MPA on performances. Less is known about individual variations of MPA within a performance, more specifically at the times before, during, and after the performance. This study used a questionnaire to investigate these performance times in order to find out if there occur different types in the variation of the perceived MPA across the performance. The study was (...) performed with 532 musicians; 27% of them being professional orchestra musicians, 45% non-professional orchestra musicians, and 28% non-professional choir singers. The musicians were asked to fill in the Performance-specific Questionnaire for Musicians immediately after a performance. The questionnaire contains three scales regarding symptoms of MPA, functional coping with MPA and performance-related self-efficacy. A cluster analysis was performed on the PQM scales to identify systematic variations. Findings indicate that there are three different types of MPA in the sample studied. Type 1 describes musicians who have few symptoms of MPA throughout the performance, show functional coping with MPA, and have a stable and well-developed self-efficacy. Type 2 describes musicians who begin their performance with rather high symptoms of MPA but can positively reduce these by the end of the performance and show high values in self-efficacy and in functional coping. Type 3 contains musicians who begin their performance with some symptoms of MPA, which increase to the end of the performance. The values of self-efficacy and functional coping in this type are rather low. Of the total sample, half of the musicians were assigned to Type 1 and approximately a quarter each to Type 2 and Type 3. In accordance with the literature, the results confirm the importance of self-efficacy and functional coping for a positive performance experience. (shrink)

Recent work in the ontology of music suggests that we will avoid confusion if we distinguish between two kinds of question that are typically posed in music ontology. Thus, a distinction has been made between fundamental ontology and higher-order ontology. The former addresses questions about the basic metaphysical options from which ontologists choose. For instance, are musical works types, indicated types, classes of particulars, or some other kind of entity? Higher-order ontology addresses the question of what lies ‘at (...) the centre’ of a specific form of music, such as rock or jazz—or perhaps classical music. The argument of this essay is, first, that a close examination of the best efforts in two of these territories shows that they have the effect of pressing the music in each sphere into implausible Procrustean beds. Second, it is argued that the general question that higher-order ontologies pose, that is, ‘What work-kind is it that lies at the centre of a given kind of music, F?’ is a question based on a mistaken but seductive assumption, namely that the concept of the work of F has actual application. In fact, these concepts—upon which higher-order ontology depends—are mere artefacts of philosophy. The question is also addressed why the assumption is so seductive. Finally, the question finally is posed about what, if anything, is implied from the foregoing about the traditional ontology of classical music. (shrink)

The volume, stemming from the long-term cooperation of scholars working on East Central European intellectual history, discusses the patterns of patriotic and national identification in the light of the multiplicity of levels of ethnic, cultural and political allegiances characterizing this region in the early modern period.

This chapter contains sections titled: Formalism Enhanced Formalism Beyond Formalism.

Music offers a unique opportunity to better understand the organization of the human brain. Like language, music exists in all human societies. Like language, music is a complex, rule-governed activity that seems specific to humans, and associated with a specific brain architecture. Yet unlike most other high-level functions of the human brain - and unlike language - music is a skill at which only a minority of people become proficient. The study of music as a (...) major brain function has for some time been relatively neglected. Just recently, however, we have witnessed an explosion in research activities on music perception and performance and their correlates in the human brain. This volume brings together an outstanding collection of international authorities - from the fields of music, neuroscience, psychology, and neurology - to describe the amazing advances being made in understanding the complex relationship between music and the brain. Aimed at psychologists and neuroscientists, this is a book that will lay the foundations for a cognitive neuroscience of music. (shrink)

Recently in Analysis, Ned Markosian (2019) has argued that a popular theory in the metaphysics of time—the Spacetime Thesis—falsely predicts that a normal musical performance is just as aesthetically valuable if it is rotated “sideways,” that is, if it is made to occur all at once. However, this argument falsely assumes that changing how something is oriented in space, and changing its duration in time, are analogous. That said, assuming they were analogous, Markosian’s argument is still unsuccessful. For the analogy (...) on which Markosian’s argument depends entails that if one can experience sideways music as it was originally, then one can prove that sideways music is just as aesthetically valuable. (shrink)

Music expertise is known to be beneficial for cognitive function and development. In this study, we conducted 1-year music training for school children in China. The children were assigned to music or second-language after-class training groups. A passive control group was included. We aimed to investigate whether music training could facilitate working memory development compared to second-language training and no training. Before and after the training, auditory WM was measured via a digit span task, together with (...) the vocabulary and block tests of the Wechsler Intelligence Scale for Child IV. The results of the DS task revealed superior development in the music group compared to the other groups. However, further analysis of DS forward and backward tasks indicated that the performance of the three training/non-training groups only differed significantly in DS backward scores, but not in the DS forward scores. We conclude that music training may benefit the central executive system of WM, as reflected by the DS backward task. (shrink)

In her famous text ‘Patriotism and Cosmopolitanism’, Martha Nussbaum argued for cosmopolitan education in ways that evoked a tension between cosmopolitanism and patriotism. Among others, Charles Taylor considered her treatment of patriotism vague and lopsided, and pointed out that patriotism is not as secondary or as dispensable as Nussbaum seemed to imply. Later, Nussbaum gradually reconsidered the notion of patriotism in texts that remained largely unknown and rarely discussed. This article begins with a brief account of her shift from cosmopolitanism (...) to what she terms ‘a globally sensitive patriotism,’ and the task assigned to education within this framework. The examples Nussbaum uses to illustrate the principles she proposes for teaching patriotism are then discussed. Her conception of patriotism reflects broader preoccupations concerning patriotism in liberal and communitarian political philosophy and education that overlook what can be termed ‘an outward aspect of patriotism.’ In light of this critique, I attempt to formulate an account of patriotism that may be in line with cosmopolitanism and quite different from current liberal or communitarian patriotic accounts. (shrink)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...) and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (shrink)

Research in basic and clinical neuroscience of music conducted over the past decades has begun to uncover music’s high potential as a tool for rehabilitation. Advances in our understanding of how music engages parallel brain networks underpinning sensory and motor processes, arousal, reward, and affective regulation, have laid a sound neuroscientific foundation for the development of theory-driven music interventions that have been systematically tested in clinical settings. Of particular significance in the context of motor rehabilitation is (...) the notion that musical rhythms can entrain movement patterns in patients with movement-related disorders, serving as a continuous time reference that can help regulate movement timing and pace. To date, a significant number of clinical and experimental studies have tested the application of rhythm- and music-based interventions to improve motor functions following central nervous injury and/or degeneration. The goal of this review is to appraise the current state of knowledge on the effectiveness of music and rhythm to modulate movement spatiotemporal patterns and restore motor function. By organizing and providing a critical appraisal of a large body of research, we hope to provide a revised framework for future research on the effectiveness of rhythm- and music-based interventions to restore and train motor function. (shrink)

The meaning of matter is determined by our interpretations. Even food has its own frequencies, which can be aligned with the specific notes of a musical scale. When presented with a dish we might ask not only “how does it taste?” but also “how does it sound?.” Gastrofonia is defined not as the musical accompaniment to a cooking demonstration, but the actual sound of it: music is made by food. Built upon an experiment initiated by John Cage to try (...) to make music with objects, gastrofonia examines sound as a possible connection among the visual and material arts. Combining music with taste, musician Roy Paci identified a biosonic perception of food. This chapter aims to analyze the case of gastrofonia in light of the increased scientific and artistic interest in food characterizing our contemporary society, that is, an orthorexic society where food has become a specific form of language, a communicative vehicle through which we express our identity, interests, social-ethical choices, and new concepts of art. From a sociosemiotic perspective, the gastrofonic dish is an example of a textual polyphonic discourse combining different languages, related to the five senses in a performance that becomes a form of shared communication. (shrink)