Foreword: Mathesis as a philosophy of the beauty of music -- The constructive relationships between music and mathematics : the Pythagorean conception of universal music and its spread in the worldview of later periods -- Semantic interpretation of the interaction between music and mathematics : mystic middle ages and the sacral baroque -- Constructive aspects of the interaction between music and other arts -- Musica mathematica in practice : aspects of analysis -- Constructive aspects of music composition -- Semantic aspects (...) of music composition -- The mathematized musical graph -- Implications of modern mathematical theories. (shrink)

The roots and evolution of two concepts usually thought to be Western in origin-musica mundana (the music of the spheres) and musica humana (music's relation to the human soul)-are explored. Beginning with a study of the early creeds of the Near East, Professor Meyer-Baer then traces their development in the works of Plato and the Gnostics, and in the art and literature of the Middle Ages and the Renaissance. Previous studies of symbolism in music have tended to focus on (...) a single aspect of the problem. In this book the concepts of musica humana and musica mundane are related to philosophy, aesthetics, and the history of religion and are given a rightful place in the history of civilization. Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

We assessed the automaticity of spatial-numerical and spatial-musical associations by testing their intentionality and load sensitivity in a dual-task paradigm. In separate sessions, 16 healthy adults performed magnitude and pitch comparisons on sung numbers with variable pitch. Stimuli and response alternatives were identical, but the relevant stimulus attribute (pitch or number) differed between tasks. Concomitant tasks required retention of either color or location information. Results show that spatial associations of both magnitude and pitch are load sensitive and that the (...) spatial association for pitch is more powerful than that for magnitude. These findings argue against the automaticity of spatial mappings in either stimulus dimension. (shrink)

ABSTRACT Because the modern concept of number emerged within a quadrivium that included music alongside arithmetic, geometry, and astronomy, musical considerations affected mathematical developments. Michael Stifel embedded the then‐paradoxical term “irrational numbers” (numerici irrationales) in a musical context (1544), though his philosophical aversion to the “cloud of infinity” surrounding such numbers finally outweighed his musical arguments in their favor. Girolamo Cardano gave the same status to irrational and rational quantities in his algebra (1545), for which his contemporaneous work (...) on music suggested parallels and empirical examples. Nicola Vicentino's attempt to revive ancient “enharmonic” music (1555) required and hence defended the use of “irrational proportions” (proportiones inrationales) as if they were numbers. These developments emerged in richly interactive social and cultural milieus whose participants interwove musical and mathematical interests so closely that their intense controversies about ancient Greek music had repercussions for mathematics as well. The musical interests of Stifel, Cardano, and Vicentino influenced their respective treatments of “irrational numbers.” Practical as well as theoretical music both invited and opened the way for the recognition of a radically new concept of number, even in the teeth of paradox. (shrink)

The development of philosophical ideas throughout history has sometimes been assisted by the use of handcrafted instruments. Some paradigmatic cases, such as the invention of the telescope or the microscope, show that many philosophical approaches have been the result of the intervention of such instruments. The aim of this article is to show the determining role that stringed musical instruments with frets had in the crisis and generation of philosophical paradigms. In fact, just as the observations of the moon with (...) the telescope broke more than a thousand years of Aristotelian hegemony, the fretted string instruments, predecessors of the guitar, played a central role in the collapse of one of the most influential approaches in the history of Philosophy: Pythagorism. We focus on the fundamental hallmarks of Pythagorism and on how, during the 16th century and from the fretted string instruments, the mathematical-musical notion of equal temperament emerged, which from the middle of the 19th century will be established as the prevailing philosophical-musical paradigm of the West. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Valerie Trollinger, “A Reconception of Performance Study in the Philosophy of Music Education”Paul LouthAs an educator who is a former professional trombonist I can certainly appreciate the issues raised in this discussion. Because I am inclined to agree with the spirit (if not always the substance) of Trollinger's remarks, I would like to respond with some thoughts on the manner in which she tends to frame (...) this debate, because I believe that this has crucial implications and may explain the cause of some of the very problems she mentions.Charlene Morton writes that a "bias for procedural knowledge... unwittingly immerses school music in the polemic arising from the false hierarchical dichotomy between 'hard' and 'soft' forms of knowledge."1 By this she means that the Cartesian mind/body split, which has led to our conception of thinking and doing as exclusive matters, is not remedied by our discovery of the importance of purely procedural knowledge, because we merely reinforce this dichotomy through acknowledging the latter term as a separate category from theoretical knowledge. Trollinger is correct in asserting that the act of performance is often overlooked and is not treated as a serious concern in music education and I believe that this may be largely due to this dichotomy, which manifests itself in the way that we divorce performance from its original holistic context.In general, if we accept this argument, then debates about performance versus listening, theorizing, and so on are inherently problematic because the discourse itself reinforces an artificial dichotomy. If we fail to address the remnants of this "Cartesian anxiety," then in our attempts to address a lack of concern over performance, we may be left with a performance model that is purely utilitarian, in the sense that the body can only justifiably occupy a central place in the curriculum if there are direct, utilitarian outcomes that we can associate with it and so long as those outcomes are supported by the free market. In North America, progressive educators have been struggling for some time against the concept of school as a locus of training for the market place. This model becomes more difficult to resist, I would argue, as long as we continue to compartmentalize performance and other aspects of musicianship. Such practices reinforce an artificial distinction between procedural and theoretical forms of knowing (and, by extension, between mental and manual forms of labor) that Apple, Giroux, and other critical pedagogues would argue atomizes student knowledge in preparation for the marketplace; yet musicianship can serve many other valuable purposes.2 [End Page 231]Trollinger, in using the word "holistic," reminds us of the connection between body and mind that exists in performance. Further, she correctly states that until relatively recently, those who taught music were musicians. I would add that in Canada (where I teach), the idea that music should be taught by musicians has often been used to justify its exclusion from schools, which is indicative of our tendency to exclude those things that we deem corporeal from the life of the mind. In my home province of Ontario, recent emphasis on "the basics" has meant that music programs have vanished in great numbers, while music study is relegated to the conservatories which, with their widespread tendency to essentialize musical experience as performance in the most limited sense of the word, have contributed further to this dichotomy.My point is that all of us, including Trollinger, may wish to reconsider the nomenclature that we carry into this debate from the outset. Because the word "performance" has become strongly associated with this particular pole (it is no accident that we use this word to describe car engines and stock returns) I suggest we can best elevate our estimation of the term by replacing it with the word "musicianship." In this way we can repair some of the damage done by the Cartesian split and the consequent de-valuing of performance that has occurred through separation from its original context. Within such an integrated model, it would become problematic to debate the relative importance of performing, listening, theorizing, or any number of activities with regard to the overall goals of musicianship... (shrink)

The convergence of the Neoplatonic/Neopythagorean approach with the Aristotelian organization of the sciences is one of the most interesting features that characterizes the two influential mathematical treatises on On Arithmetics and On Music by Severinus Boethius. Basing his reasoning on Nicomachus and Ptolemy, Boethius follows the philosophical tradition that had tried to reconcile Plato’s and Aristotle’s views. This attitude is examined in the present paper as regards Boethius’ response concerning the relation between numbers, ethics and aesthetics. His view emerges (...) as coming out of a rather complex construction, which assigns the ethical scope of mathematics in indicating to the human mind how to correct the ratios that realize the best relationship in movements of the soul and the body. More precisely, its ethical aim is to correct the specific form of movement of human beings, that is their actions, exemplified in the way in which mathematical ratios represent the forms of government and musical ratios evoke and heal psychophysical affections. More complex, on the other hand, is the relationship between mathematics and beauty. In clear antithesis to the position taken by Augustine on the beauty of the rhythmic patterns that better represent the beauty of unity, Boethius does not relate the mathematical ratios of the consonances to an esthetical judgment by making use of the category of beauty. For him, the physical world is totally immersed in changes and movements, and this cannot but impede things from expressing the stable unity, which is required for contemplating the beautiful. (shrink)

Why is the number seven lucky--even holy--in almost every culture? Why do we speak of the four corners of the earth? Why do cats have nine lives? From literature to folklore to private superstitions, numbers play a conspicuous role in our daily lives. But in this fascinating book, Annemarie Schimmel shows that numbers have been filled with mystery and meaning since the earliest times, and across every society. In The Mystery of Numbers Annemarie Schimmel conducts an illuminating (...) tour of the mysteries attributed to numbers over the centuries. She begins with an informative and often surprising introduction to the origins of number systems: pre-Roman Europeans, for example, may have had one based on twenty, not ten, while the Mayans had a system more sophisticated than our own. Schimmel also reveals how our fascination with numbers has led to a rich cross-fertilization of mathematical knowledge: "Arabic" numerals, for instance, were picked up by Europe from the Arabs, who had earlier adopted them from Indian sources. But the heart of the book is an engrossing guide to the symbolism of numbers. Number symbolism, she shows, has deep roots in Western culture, from the philosophy of the Pythagoreans and Platonists, to the religious mysticism of the Cabala and the Islamic Brethren of Purity, to Kepler's belief that the laws of planetary motion should be mathematically elegant, to the unlucky thirteen. After exploring the sources of number symbolism, Schimmel examines individual numbers ranging from one to ten thousand, discussing the meanings they have had for Judaic, Christian, and Islamic traditions, with examples from Indian, Chinese, and Native American cultures as well. Two, for instance, has widely been seen as a number of contradiction and polarity, a number of discord and antithesis. And six, according to ancient and neo-platonic thinking, is the most perfect number because it is both the sum and the product of its parts. Using examples ranging from the Bible to the Mayans to Shakespeare, she shows how numbers have been considered feminine and masculine, holy and evil, lucky and unlucky. A highly respected scholar of Islamic culture, Annemarie Schimmel draws on her vast knowledge to paint a rich, cross-cultural portrait of the many meanings of numbers. Engaging and accessible, her account uncovers the roots of a phenomenon we all feel every Friday the thirteenth. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Editorial Reflections on Philosophizing in Music EducationEstelle R. Jorgensen and Iris M. YobIn this article, we reflect on issues that go to the heart of teaching and scholarship in the philosophy of music education. After thirty years of editing Philosophy of Music Education Review, it is a good time to take stock of the philosophical work that has been and is being published and of challenges that remain.Over the (...) years, there has been a growing quality of philosophical articles published in the journal, due in significant part to the efforts of reviewers and the willingness of writers to work with their suggestions. Authors regularly express appreciation for the informed, critical, and constructive reviews their work receives. An exemplary body of philosophical scholarship in music education has been published over this time and PMER is regarded as a premier journal internationally devoted exclusively to the philosophy of music education. In thirty volumes of uninterrupted publication, we have sought to be responsive to important issues in music education. Our writers have engaged relevant subjects of interest to our readers, citations of articles remain strong, and articles are included in [End Page 109] university and college course reading lists. PMER is available in print and online via subscription; it has a wide digital exposure in search engines and leading indexes, and our readership continues to grow.Despite this progress, although the number of submissions has increased, their quality has sometimes been uneven. Our pedagogical commitment to foster philosophical writing and the philosophical inexperience of some writers has significantly impacted the work required to bring submissions to publication standard. Submissions sometimes evidence a lack of attention to formulating a tight argument, citing relevant sources, and polishing and editing the manuscript. The published style guidelines are too often ignored, creating a poor first impression with reviewers and editors. Writers are occasionally in a hurry to publish and less willing to entertain multiple revisions of their articles required to produce work of lasting value. The growing number of music education journals that publish philosophical work, while opening more fora, in some cases perversely result in ideologically driven, polemical, and philosophically uninformed articles in the name of philosophy. This is a good moment to reconsider the importance of philosophical fundamentals that should undergird our philosophizing in music education and what these mean for our academic responsibilities. To this end, we suggest several principles that need to be central to our philosophizing in music education. These principles also have broader implications for the expectations of scholarship in music education generally.WRITING PHILOSOPHYLike other subject areas in the academy, philosophy has its own intellectual structure, a canon of significant writings, its own interpretative methods, and its distinctive role and purpose. A philosophical paper in music education reads differently from papers in the history of music education, methods of teaching music, sociology of music education, empirical research in music education, multi-cultural, gender, and ethnic studies, music education curriculum building and policy making, and so on. And yet, the boundaries between these disciplines, which are artificial constructions when human knowledge is considered wholistically anyway, are somewhat porous with concepts and ideas and claims seeming to move easily from one discipline to another.To help distinguish between philosophy and other areas of study and research, it may be helpful to consider philosophy as a second-order activity. That is, first-order activity examines the raw data of research and experience and attempts to make sense of them. Using inference, pattern-seeking, deduction, hypotheses, statistical analysis, and so on, these activities result in claims, interpretations, and theories that give meaning to what we see, hear, and feel. [End Page 110]The second-order activity takes a step away from these first-order activities. It does not concern itself so much with raw data or with creating theories about them, but critically analyzes the claims and inferences that are made in regard to them. Where first-order disciplines analyze inputs from observation and experimentation, second-order disciplines analyze these analyses—that is, they function as meta-analyses. Philosophers do not need laboratories or fieldwork (which makes applications for grants to support philosophical research difficult to secure!). They need libraries... (shrink)

Musical knowledge is largely implicit. It is acquired without awareness of its complex rules, through interaction with a large number of samples during musical enculturation. Whereas several studies explored implicit learning of mostly abstract and less ecologically valid features of Western music, very little work has been done with respect to ecologically valid stimuli as well as non-Western music. The present study investigated implicit learning of modal melodic features in North Indian classical music in a realistic and ecologically valid way. (...) It employed a cross-grammar design, using melodic materials from two modes that use the same scale. Findings indicated that Western participants unfamiliar with Indian music incidentally learned to identify distinctive features of each mode. Confidence ratings suggest that participants' performance was consistently correlated with confidence, indicating that they became aware of whether they were right in their responses; that is, they possessed explicit judgment knowledge. Altogether our findings show incidental learning in a realistic ecologically valid context during only a very short exposure, they provide evidence that incidental learning constitutes a powerful mechanism that plays a fundamental role in musical acquisition. (shrink)

Studies by Gardiner and colleagues connecting musical pitch and arithmetic learning support Rips et al.'s proposal that natural number concepts are constructed on a base of innate abilities. Our evidence suggests that innate ability concerning sequence ( or BSC) is fundamental. Mathematical engagement relating number to BSC does not develop automatically, but, rather, should be encouraged through teaching.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Culturally Responsive Teaching in Music Education: From Understanding to Application by Vicky R. Lind and Constance L. McKoyEric ShiehVicky R. Lind and Constance L. McKoy, Culturally Responsive Teaching in Music Education: From Understanding to Application (New York, NY: Routledge, 2016).In the book’s penultimate chapter, titled “Community,” we encounter a teacher who agrees to a student’s request to start a mariachi band and gets “more than he bargained for.”1 (...) We hear from a teacher who seeks a greater understanding of the context for her Black students and finds herself the only White person in many of the community events she attends. We learn about a teacher who has her marching band, predominantly comprised of Latinx students, march in annual Korean and Black community parades in the city and why she does this. What to make of these stories—inspiring, provocative, suffused with honesty? I found myself restless to share these narratives with my own teaching colleagues, to ask not simply “What do you see happening here?” but also “Where would something like this take us?”What is notable about Vicky Lind and Constance McKoy’s achievement here is that they have given us a very full book and one that provides many different points of entry—stories and theories and activities and questions—through which to engage with ideas of culturally responsive teaching. In just under 150 [End Page 210] pages with index and references, the book encompasses four chapters that review various academic traditions connected to culturally responsive teaching, concludes with three chapters that relay narratives and vignettes from K-12 music teachers, and includes throughout lists of reflection questions and teaching strategies. The primary audience is pre-service and in-service K-12 music teachers. If a key requirement for culturally responsive teaching is continuous reflection over the impacts our pedagogies have on our students and ourselves as teachers, this book’s wide-ranging engagement is indeed a welcome one.What I offer here in terms of review, then, is first a consideration of the book’s various components and where they might lead us. Second, I bring its ideas of cultural responsiveness into dialogue with ideas more commonly found in anti-racist and social justice approaches to education—traditions the book does not directly engage with but which certainly have a place in conversations around it. This is a particularly relevant time, I suggest, to engage with questions of cultural responsiveness alongside perhaps more politically-minded approaches: this book will be read, I hope, by teachers grappling with our age of renewed and visible racial struggle, increased forced migration, and cultural insecurity.The first half of the book is explicitly dedicated to “understanding” culturally responsive teaching. Its chapters present a historical overview of its conceptual development, explicate the centrality of culture and cultural competence to teaching, and discuss the connection between music and identity in young people. The authors center their conceptualization of culturally responsive teaching around Geneva Gay’s framework, outlined in her Culturally Responsive Teaching, as “using the cultural knowledge, prior experiences, frames of reference, and performance styles of ethnically diverse students to make learning encounters more relevant to and effective for them.”2 “Effective,” here, is understood broadly and includes academic competence, self-efficacy, social critique, and the freedom to be “ethnically expressive.”3In laying this foundation, the authors negotiate thoughtfully a number of tensions inherent in this work that are too often simplified in the classroom. They recognize, for example, the need to acknowledge culture as a category through which human experience is mediated, but also one that too easily gives way to stereotyping. When discussing issues of music and identity they remind readers that musical identities are multiple and suggest that musical identities might be viewed as both “bottom-up” and “top-down”—constructed through a variety of ongoing experiences as much as they are constituted by national or ethnic affiliation.4 They also do not shy from language such as “high expectations” and “academic competence” when discussing the need for comprehensive and supportive classrooms, despite the uneasiness with which these terms often sit in arts education and alongside purposes of engendering social critique... (shrink)

This article aims to explore the origins of Charles W. Morris’ semiotic anthropology through an analysis of his “symbolism,” a theory of mind wherein the latter is completely identified with the production and use of symbols. Developed in the late 1920s, this theory consists in transforming the behaviorist approach by means of a semantic or referential emphasis, i.e. by underlining the importance of the symbol’s object rather than studying only the responses that it elicits. Considering, however, that the experience (...) of reference is of a private or “self-inclusive” nature, Morris’ conception of the symbol entails a number of significant consequences, not only with respect to classical behaviorist views, but also to Mead’s. By founding his conception of the symbol on a self-inclusive basis, Morris questioned the linguistic and social criteria that governed the outlook of his mentor in Mind, Self, and Society. This critical reading thus implies a rehabilitation of animal symbolism, against a number of remarks by Mead indicating his refusal of the existence of symbolization, and so of mind, in the non-human world. Insofar as Morris’ line of thought was heavily influenced by contemporary research in comparative psychology, it is possible to consider that he anticipated recent discussions of Mead’s alleged “anthropocentrism,” and suggested an evolutionary and continuous view of mind through a generalized symbolism that refuses any difference of nature between human and animal mentalities. (shrink)

The article is dedicated to the philosophical reaction by several Russian symbolists to the revolution of 1917. It demonstrates the “re-grouping” of Silver Age symbolism, which laid bare the underlying differences in its value foundations. The article considers this refracted unity in the ideational world of symbolism, in the journalistic writings of Vjacheslav Ivanov, Alexander Blok, Andrej Bely, and Maximilian Voloshin.

A recently emerging view in music cognition holds that music is not only social and participatory in its production, but also in its perception, i.e. that music is in fact perceived as the sonic trace of social rela- tions between a group of real or virtual agents. While this view appears compatible with a number of intriguing music cognitive phenomena, such as the links between beat entrainment and prosocial behaviour or between strong musical emotions and empathy, direct evidence is lacking (...) that listeners are at all able to use the acoustic features of a musical interaction to infer the affiliatory or controlling nature of an underlying social intention. We created a novel experimental situation in which we asked expert music improvisers to communicate 5 types of non-musical social intentions, such as being domineering, dis- dainful or conciliatory, to one another solely using musical interaction. Using a combination of decoding studies, computational and psychoacoustical analyses, we show that both musically-trained and non musically-trained listeners can recognize relational intentions encoded in music, and that this social cognitive ability relies, to a sizeable extent, on the information processing of acoustic cues of temporal and harmonic coordination that are not present in any one of the musicians’ channels, but emerge from the dynamics of their interaction. By manipulating these cues in two-channel audio recordings and testing their impact on the social judgements of non-musician observers, we finally establish a causal relationship between the affiliation dimension of social behaviour and musical harmonic coordination on the one hand, and between the control dimension and musical temporal coordination on the other hand. These results provide novel mechanistic insights not only into the social cognition of musical interactions, but also into that of non-verbal interactions as a whole. (shrink)

ABSTRACT On the cusp of the Weimar Republic’s transition to the Nazi era the production and public reception of these works of music theater by Kurt Weill, Bertolt Brecht and Georg Kaiser embody the social and ideological conditions of the time and were founded on a critique of these same conditions. Weill’s and Brecht’s opera unfolds in a mythical place which serves as a parable for capitalist utopia/dystopia, Mahagonny being the emblematic city of dreams and disillusionment. Kaiser’s play, with music (...) by Weill, takes utopian longings as its subject in various ways, from petty bourgeois aspirations to liberation for the workers. Silbersee combines a sharp political allegory about the rise of Nazism with a symbolist drama about the promise of a better world. Using examples of Weill’s music this article will explore how these works dramatize Utopia as explicitly modelled content, represented desire and transformative agency. (shrink)

CHAMELEON is a computational melodic harmonization assistant. It can harmonize a given melody according to a number of independent harmonic idioms or blends between idioms based on principles of conceptual blending theory. Thus, the system is capable of offering a wealth of possible solutions and viewpoints for melodic harmonization. This study investigates how human creativity may be influenced by the use of CHAMELEON in a melodic harmonization task. Professional and novice music composers participated in an experiment where they were asked (...) to harmonize two similar melodies under two different conditions: one with and one without computational support. A control group harmonized both melodies without computational assistance. The influence of the system was examined both behaviorally, by comparing metrics of user-experience, and in terms of the properties of the artifacts that were created between the two experimental conditions. Results suggest that appreciation of the system was expertise-dependent. At the same time, users seemed to adopt more explorative strategies as a result of interaction with CHAMELEON based on the fact that the harmonizations created this way were more complex, diverse, and unexpected in comparison to the ones of the control group. (shrink)

Auditory scene analysis is an elementary aspect of music perception, yet only little research has scrutinized auditory scene analysis under realistic musical conditions with diverse samples of listeners. This study probed the ability of younger normal-hearing listeners and older hearing-aid users in tracking individual musical voices or lines in JS Bach's The Art of the Fugue. Five-second excerpts with homogeneous or heterogenous instrumentation of 2–4 musical voices were presented from spatially separated loudspeakers and preceded by a short cue for signaling (...) the target voice. Listeners tracked the cued voice and detected whether an amplitude modulation was imposed on the cued voice or a distractor voice. Results indicated superior performance of young normal-hearing listeners compared to older hearing-aid users. Performance was generally better in conditions with fewer voices. For young normal-hearing listeners, there was interaction between the number of voices and the instrumentation: performance degraded less drastically with an increase in the number of voices for timbrally heterogeneous mixtures compared to homogeneous mixtures. Older hearing-aid users generally showed smaller effects of the number of voices and instrumentation, but no interaction between the two factors. Moreover, tracking performance of older hearing aid users did not differ when these participants did or did not wear hearing aids. These results shed light on the role of timbral differentiation in musical scene analysis and suggest reduced musical scene analysis abilities of older hearing-impaired listeners in a realistic musical scenario. (shrink)

The process of conceptualization and creation of a film score heavily depends on the collaboration between the film director and composer. The harmony of the director’s and film composer’s ideas should provide an impetus for the synchronization of literature (the script and film narrative) and music (film score). This was mainly used as a guide in crafting the film score for the independent film Ang Panggagahasa kay Fe (The Rapture of Fe, 2009) directed by Alvin Yapan. This article explores how (...) the music is deployed to resonate with the mythic and folkloric sensibility of the film narrative. We chose to use the tambuleleng, a native lute instrument/chordophone from Bukidnon, Southern Philippines, that is a modern adaptation of three traditional instruments. In its invention, its crafting, and in the sounds it produces, the tambuleleng is an artful blending of tradition and modernity. The tambuleleng’s composition, its symbolism and function in native life and rituals, aside from the sound it creates, all became material in conveying the folkloric narrative, and articulating the issues presented in the film. Some concerns on Philippine film musical scoring are also tackled, mainly focusing on the constraints, as well as the liberties involved when operating within a limited budget for an independent movie production. (shrink)

In addition to the technical writers on music, a number of ancient authors, notably Plutarch and Athenaeus, have recorded several musical terms, either by way of illustrative material—Plutarch is particularly given to musical similes and metaphors—or in the course of anecdotes about music and musicians. As musical terminology in different ages contains words or phrases not only of general acceptance and familiarity, but other more ephemeral expressions which belong to the jargon of a narrower circle of executants and critics, it (...) is possible that the musical significance of such words, when used in an apparently non-musical context, has escaped notice. (shrink)

The study aimed to investigate the influence of different types of acoustic stimulus (classical vs. rock music) on the growth of bok choy (Brassica rapa) plants. Three separate groups of bok choy plants were exposed to classical music, rock music, or else no music, during growth and development and the influence on yield was observed. The results reveal that those plants exposed to classical music exhibited significant differences in shoot characteristics with the highest total fresh weight, shoot fresh weight, and (...) mean leaf numbers. Meanwhile, those plants exposed to rock music demonstrated values that were the lowest across all plant parameters. Plants treated to classical music had the lowest root length but the highest root volume, indicating that the roots were significantly stouter and more compact as compared to those plants treated to rock music and no music. This study therefore serves as a future reference for the use of music in plant growth. (shrink)

The main focus of the paper is the role of listeners’ emotion-relevant characteristics and musical expertise in the granularity of affective responses to music. Another objective of the study is to test the consistency of the granularity of affect that is perceived in music and/or experienced in response to it. In Experiment 1, 91 musicians and nonmusicians listened to musical excerpts and grouped them according to the similarity of the affects they experienced while listening. Finer grouping granularity was found in (...) musicians and high rumination scorers. Male musicians with above-median scores in rumination produced a larger number of clusters than the other male participants. Experiment 2 that engaged 23 participants demonstrated moderate consistency with which listeners grouped affects that they perceived in music and affects they experienced while listening to music. The study suggests that affective responses to music are subject to individual differences in musical expertise and rumination. Affects perceived in music and felt in response to it seem to be categorized with reference to the common principles. However, the cues that are used in such instances of categorization seem to be different. The paper encourages further research on the importance of listeners’ personal characteristics for the affective responses to music. (shrink)

The fragmentary columns of the Fourth Book of Philodemus' περ μονσικς were the first-fruits of Herculaneum, published in 1793, with venturesome reconstructions and learned notes, by the Academici of Naples. Fragments of the other books occur in four volumes of the Collectio Altera of 1862–5. A. Teubner Text by J. Kemke, a pupil of Bücheler, appeared in 1884, upon which Gomperz made a number of improvements in a pamphlet published in the following year. Otherwise, save for a few pages in (...) H. Abert's Die Lehre vom Ethos in der griechischen Musik published in 1899, the work has attracted very little attention; which is scarcely surprising in view of the state of the text and the peculiar awkwardness of Philodemus' Greek. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Music Teacher Education in Japan:Structure, Problems, and PerspectivesMasafumi OgawaSchool music education in Japan is in a less than ideal situation. In April 2002, the new course of study was implemented by the Ministry of Education, Culture, Sports, Science and Technology (MEXT).1 The total number of music classes in the new curriculum was reduced to 33% of what it had been by the end of 2002. The reduction went from (...) two hours of music classes every week in grades one through nine to one hour in grades five through nine. This inevitably caused many problems. First, it became very difficult to teach music sequentially and instead music classes tended to be fragments of introductory experiences taught as disconnected activities. In this situation, it has been difficult for students to develop musical knowledge and skills. Second, the number of full-time music teachers was reduced greatly. It became common for a music teacher to teach at more than two schools in order to fill a full-time assignment. In some scenarios, many full-time music teachers were replaced with part-time teachers or teachers of other subjects. Music teachers have become disposable.Many music teachers are losing their effectiveness in the classroom. Students consider school music classes as a time to relax compared with other "intellectual subjects."2 They sometimes question music as an essential subject because they [End Page 139] do not value the developing skills that music requires or studying the theory of music. They believe that they can enjoy music outside of school anyway. Consequently, they are quite reluctant to participate in music classes and so behavioral problems arise and classroom management becomes more difficult. Some teachers attempt to force students to obey and force them to order; other teachers totally give up and let students behave as they like in class.3 In either case, teachers and students do not relate well to each other. It is not an exaggeration to say that school music in Japan is at risk of collapsing altogether and disappearing from the curriculum.One of the reasons for this, I believe, is that we have not wrestled with the fundamental problems of school music education until today. We might have intentionally avoided reviewing and criticizing the curriculum, expectations, and purposes of music education because it has been taboo to discuss the national standards, particularly for public school teachers to do so. Social and environmental conditions have changed greatly since the current system of Japanese education was established in 1947. It is obvious that the existing system does not match the new conditions.I strongly feel that it is time to review and reexamine what our pioneers of music education and the government had achieved in the field of music education. If we continue to avoid doing so, music in the schools will face serious consequences. In this paper, I discuss some of the fundamental issues of music teacher education in Japan. There are two reasons for focusing on music teacher education. First, starting with music teacher education is most important because music teachers have the most significant roles in school music education. Second, I have been engaged in music teacher education for seventeen years, and this is not only my research area but also an area in which, as an insider, I can offer direct insights. I will limit this essay to looking at the preparation of teachers in music for elementary and middle schools (grades 7 to 9).StructureThe course of study (COS) is a set of national curriculum standards for kindergarten, elementary, middle, and high school, and schools for the handicapped and is issued by the MEXT.4 All schools, public or private, are required to follow these standards. No other curriculum is allowed. Therefore, in Japan, the COS is law through which the government controls all educational actions. The COS was first issued in 1947 and has been revised seven times.5 The most recent revision was announced in December 1998 for kindergarten, elementary, and middle schools, and in March 1999 for the other levels. All schools in Japan were required to implement the revised COS by April 2002. [End Page 140]The COS of... (shrink)

Ancient Greek Philosophy routinely relied upon concepts of number to explain the tangible order of the universe. Plotinus' contribution to this tradition, however, has been often omitted, if not ignored. The main reason for this, at first glance, is the Plotinus does not treat the subject of number in the Enneads as pervasively as the Neopythagoreans or even his own successors Lamblichus, Syrianus, and Proclus. Nevertheless, a close examination of the Enneads reveals that Plotinus systematically discusses number in relation to (...) each of his underlying principles of existence--the One, Intellect, and Soul. Plotinus on Number offers the first comprehensive analysis of Plotinus' concept of number, beginning with its origins in Plato and the Neopythagoreans and ending with its influence on Porphyry's arrangement of the Enneads. It's main argument is that Plotinus adapts Plato's and the Neopythagoreans' cosmology to place number in the foundation of the intelligible realm and in the construction of the universe. Through Plotinus' defense of Plato's Ideal Numbers from Aristotle's criticism, Svetla Slaveva-Griffin reveals the founder of Neoplatonism as the first post-Platonic philosopher who purposefully and systematically develops what we may call a theory of number, distinguishing between number in the intelligible realm and number in the quantitative, mathematical realm. Finally, the book draws attention to Plotinus' concept as a necesscary and fundamental linke between Platonic and late Neoplatonic schools of philosophy. (shrink)

The research expects to explore the application of intelligent music recognition technology in music teaching. Based on the Long Short-Term Memory network knowledge, an algorithm model which can distinguish various music signals and generate various genres of music is designed and implemented. First, by analyzing the application of machine learning and deep learning in the field of music, the algorithm model is designed to realize the function of intelligent music generation, which provides a theoretical basis for relevant research. Then, by (...) selecting massive music data, the music style discrimination and generation model is tested. The experimental results show that when the number of hidden layers of the designed model is 4 and the number of neurons in each layer is 1,024, 512, 256, and 128, the training result difference of the model is the smallest. The classification accuracy of jazz, classical, rock, country, and disco music types can be more than 60% using the designed algorithm model. Among them, the classification effect of jazz schools is the best, which is 77.5%. Moreover, compared with the traditional algorithm, the frequency distribution of the music score generated by the designed algorithm is almost consistent with the spectrum of the original music. Therefore, the methods and models proposed can distinguish music signals and generate different music, and the discrimination accuracy of different music signals is higher, which is superior to the traditional restricted Boltzmann machine method. (shrink)

The work Irene, overo della bellezza, written by the Renaissance philosopher and poet Michele Monaldi from Dubrovnik, is considered to be the first aesthetic treatise that originates from Croatia. In that dialogue, Monaldi devoted a whole chapter to music and presented his version of the general theory of it. Monaldi’s thoughts on beauty and music originate primarily from the philosophy of Plato and Aristotle. He was mainly theoretically oriented, thus his ideas on music are primarily based on Plato’s philosophical thoughts, (...) and only partially on Aristotle’s. In the greater part of this chapter, Monaldi does not consider the changes that occurred in the field of music in the second half of the 16th century and on the turn of the 17th century. Thus, his ideas on music and art, in general, can be interpreted almost as a purely theoretical model, without any indications of its possible use in practice. Monaldi’s Platonic orientation is also evident in the form of his work, which is the dialogue form modelled after similar dialogues written by Plato. In some aspects of his discussion on music, though not numerous, Monaldi still relies on Aristotle, especially when it comes to functions of music. In his chapter devoted to music Monaldi rather thoroughly discusses several aspects of music: the divisions of music into different branches, the intervals, the meaning in music, the functions of music, the modes and the instruments, the relationship between music and politics, the relationship between music and other "objects of hearing", as well as criteria necessary to achieve "proper music". Given the fact that Monaldi treated quite a large number of music issues, his work Irene, overo della bellezza is considered to be the most valuable contribution to the reflection on music from Croatia in the Renaissance period. This paper presents Monaldi’s understanding of music, based on the example of his classifications of it into different categories. (shrink)

The subject of the study is the ontological ideas of ancient Chinese music in the context of the formation of philosophical schools of Ancient China, which make it possible to identify a number of philosophical categories that underlie traditional chinese music and outline different approaches to its understanding and interpretation. Most Chinese researchers in the field of musical aesthetics focus on the art of music, rare to pay attention to the philosophical origins of the categories of music that past thinkers (...) wrote about when analyzing laws of existence of the universe. Restoring and rethinking these values in the context of the philosophical and cultural analysis of ancient Chinese music is key to this work, which allows us to gain an understanding of the specifics of ancient Chinese culture and its musical heritage. The novelty of the work lies in carrying out the correlation of genesis of the musical ontology of Ancient China with the dynamics of the formation of the philosophical schools of Confucianism, Taoism and Buddhism, their rise or fall depending on the historical and cultural situation. Musical philosophy in China has not yet become an independent discipline, so the presented work makes a significant contribution to the field of musical ontology. During the study, the authors revealed three main aspects which are basic for the ontology of ancient Chinese music: The nature of music has its source three categories: Tao, air and sound, existing both in a natural state in nature and embodied in musical structure and instruments; Sound and rhythm being the essence to any musical work, organize the sounding space in accordance with the cosmic order; The metaphysical nature of music is justified by the basic principles of Taoist philosophy and number theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Singing Democracy:Music and Politics in Jean-Jacques Rousseau's ThoughtJulia SimonComment? Tous les intervalles de mon Clavecin sont altérés?... Fi, le vilain instrument; ne m'en parlez plus.... Je veux chanter.—Anton Bemetzrieder, Leçons de ClavecinDemocratic theory of the eighteenth century, and particularly Rousseau's, is suffused with the idealism and lack of pragmatism that make it both immensely compelling and extraordinarily frustrating. Conceived under the decaying edifice of the absolute monarchy, it strives (...) toward perfection, offering theoretical formulations that often defy practical application. Yet this theory continues to inspire democratic practice and political debates even more than 200 years after its writing. In one passage of Du contrat social Rousseau asserts, "If there were a people of Gods, it would govern itself democratically. Such a perfect government is not suited to men."1 And yet the thrust of the work and the critical force of Rousseau's corpus encourage and challenge us to strive toward democracy, as impossible a goal as it may be for mere mortals.Alongside Rousseau's works in social and political theory lies another vast body of theoretical work in music. Rarely, if ever, are they read in tandem. Music in the eighteenth century suffers from many of the same difficulties that political theory does, especially the tendency toward a level of abstraction that defies practical application. Like the problem of democracy in the eighteenth century, music also presents the temptation of retreat into a world of abstract perfection based on mathematical certainty with little relation to practical reality. [End Page 433] Perhaps nowhere is the tension so acute between the ideal and the real in music as in the domain of tuning specifically, in keyboard tuning, and the question of tempering. So as in the political domain, there is a potentially wide gulf between music theory and music practice.If there is any hope of realizing democracy in the way that Rousseau understood it, an exploration of his music theory may provide the crucial bridge between theory and practice. Rousseau's theoretical work in music, and singing in particular, covers a number of distinct subject areas. First, his proposal for a new system of musical notation links directly to democratic impulses in his political and social theory. Second, the kinds of emotions that music stirs are related in Rousseau's thought to forms of expression that remain closer to their natural origins. Finally, Rousseau's preference for melody, as opposed to harmony, relates directly to his conception of the political sphere and specifically to the relationship between the general will and the workings of the body politic in a democracy. Unexpectedly, reading Rousseau's musical theory alongside his democratic theory produces a nuanced and moderate view of the social contract that deepens our understanding of the relationship between relative and absolute values in politics as well as in music and offers a model for practice.Musical Notation and DemocracyA distinctly democratic impulse motivates the Projet concernant de nouveaux signes pour la musique for Rousseau's revision of the musical notation system is designed to increase accessibility to music. With characteristic rhetoric Rousseau introduces his project for "simplifying" musical notation with a short, to-the-point paragraph: "This project tends to make music easier to write down, easier to learn and much less diffuse."2 Following this statement of purpose, Rousseau relates, in a contrasting rhetorical style—replete with specialized vocabulary—the current state of affairs in musical notation:This quantity of lines, keys, transpositions, of sharps, flats, naturals, of simple and complex measures, of whole-notes, half-notes, quarter-notes, eighth-notes, sixteenth-notes, thirty-second notes, of rests, half-rests, quarter-rests, eighth-rests, sixteenth-rests, etc. gives a quantity of signs and combinations from which result two principle inconveniences: the first, to occupy too great a volume, and the second to overload the memory of schoolchildren in such a way that the ear being formed and the organs having acquired all the necessary facility long before one is [End Page 434] capable of singing from a book, it follows that the difficulty is more in the observation of rules than in the execution of... (shrink)

Recently, a number of philosophers have defended a novel, materialist view on the nature of musical works—musical perdurantism. According to this view, musical works are a peculiar kind of concreta, namely perduring mereological sums of performances and/or other concrete entities. One problem facing musical perdurantism stems from the thought that if this view is correct, then virtually no musical work can exist in a continuous, non-intermittent fashion. The aim of this paper is to expound this problem and show that it (...) cannot be plausibly solved by a musical perdurantist. (shrink)

Measuring responsiveness to gain accurate diagnosis in populations with disorders of consciousness (DOC) is of central concern because these patients have such complex clinical presentations. Due to the uncertainty of accuracy for both behavioral and neurophysiological measures in DOC, combined assessment approaches are recommended. A number of standardized behavioral measures can be used with adults with DOC with minor to moderate reservations relating to the measures’ psychometric properties and clinical applicability. However, no measures have been standardized for use with pediatric (...) DOC populations. When adapting adult measures for children, confounding factors include developmental considerations for language-based items included in all DOC measures. Given the lack of pediatric DOC measures, there is a pressing need for measures that are sensitive to the complex clinical presentations typical of DOC and that can accommodate the developmental levels of pediatric populations. The music therapy assessment tool for awareness in disorders of consciousness (MATADOC) is a music-based measure that has been standardized for adults with DOC. Given its emphasis on non-language based sensory stimuli, it is well-suited to pediatric populations spanning developmental stages. In a pre-pilot exploratory study, we examined the clinical utility of this measure and explored trends for test-retest and inter-rater agreement as well as its performance against external reference standards. In several cases, MATADOC items in the visual and auditory domains produced outcomes suggestive of higher level functioning when compared to outcomes provided by other DOC measures. Preliminary findings suggest that the MATADOC provides a useful protocol and measure for behavioral assessment and clinical treatment planning with pediatric DOC. Further research with a larger sample is warranted to test a version of the MATADOC that is refined to meet developmental needs of pediatric DOC populations. (shrink)

Western music is characterized primarily by simple meters, but a number of other musical cultures, including Turkish, have both simple and complex meters. In Experiment 1, Turkish and American adults with and without musical training were asked to detect metrical changes in Turkish music with simple and complex meter. Musicians performed significantly better than nonmusicians, and performance was significantly better on simple meter than on complex meter, but Turkish listeners performed no differently than American listeners. In Experiment 2, members of (...) Turkish classical and folk music clubs who were tested on the same materials exhibited comparable sensitivity to simple and complex meters, unlike the American and Turkish listeners in Experiment 1. Together, the findings reveal important effects of musical training and culture on meter perception: trained musicians are generally more sensitive than nonmusicians, regardless of metrical complexity, but sensitivity to complex meter requires sufficient exposure to musical genres featuring such meters. (shrink)

"This innovative volume argues that any particular kind of music can only be understood in terms of the criteria of the group which makes and appreciates that music. This theme is in sharp contrast to established attitudes to music which utilize 'objectively' conceived aesthetic. These attitudes are revealed in the assumptions underlying most musicology and musical aesthetics including, perhaps paradoxically, the work of a number of cultural radicals such as Lukacs and Adorno. On a more practical level, they manifest themselves (...) both in music education policies and in the policies of arts and broadcasting administrators, who have the power to promote some kinds of music above others. (shrink)

Odour-sound correspondences provide some of the most fascinating and intriguing examples of crossmodal associations, in part, because it is unclear from where exactly they originate. Although frequently used as similes, or figures of speech, in both literature and poetry, such smell-sound correspondences have recently started to attract the attention of experimental researchers too. To date, the findings clearly demonstrate that the majority of non-synaesthetic individuals associate orthonasally-presented odours with various different sound properties, e.g., pitch, instrument type, and timbre, in a (...) non-random manner. What is more, these auditory-olfactory associations exhibit a number of features that are common to other crossmodal associations, such as their consistency over time, and their bidirectionality. However, the psychological mechanism underpinning these associations in the general population remain unclear, with a number of distinct hypotheses having been put forward over the years. In this chapter, we consider auditory-olfactory associations in art and science, focusing on poetry, music composition, and performance. First, we provide examples of the use of auditory-olfactory synaesthetic metaphors in poetry, from William Shakespeare through to Romanticism, illustrating how crossmodal associations have appeared in literature for centuries. Then, we move on to focus on music composition and performance, describing a number of examples where auditory stimuli have been purposely matched with crossmodally corresponding olfactory and/or visual stimuli. Considering the scientific study of smell-sound correspondences, we review the key psychophysical studies demonstrating that, beyond the artistic context, robust and non-random crossmodal associations are also triggered in the majority of the general population. We discuss a number of hypotheses that have been put forward over the years to account for such associations, focusing on the idea that certain correspondences between olfactory and auditory stimuli are mediated by the emotional character of the component stimuli. (shrink)

Music is said to be the most autonomous and least representative of all the arts.

Abstract:In 1952, John Cage wrote 4′33″ which famously asked the performer not to play a single note: tacet. This provocative work raises a number of questions. In music—and by extension, music education—what does it mean to not do something? What does it mean to make no sound? More fundamentally, what is the nature of non-action, non-sound, and even nothingness in and of itself? Since Cage was influenced by Eastern philosophy, we journey to Asia in search of insights into nothingness and (...) associated notions of absence and negation. In particular, we draw on the writings of Daoist philosophers, principally Laozi, to examine a quartet of philosophical terms, namely, wu (nothing/ness), wuwei (non-action), wusheng (non-sound), and wuaile (neither sorrow nor joy). Using these ideas, we propose a Daoist-inspired philosophy of music education, one that emphasizes the usefulness (yong) of nothingness (wu). (shrink)

The article considers A.F. Losev''s philosophy of music in the context ofhis entire religious worldview and as the part of hisChristian-Neoplatonic philosophy. Synthesizing Pythagorean-Platonic andRomantic musical doctrines, Losev concludes: music is the expression ofthe life of numbers, a meonic-hyletic element that rages inside numericconstructions. So it is necessary to analyse the concept of number inthe system of Neoplatonic thought. In the Neoplatonic hierarchy of theuniverse both numeric sphere and music are located at the source of allthe eidei, above them (...) and between the One (the first hypostasis) and theWorld Intelligence (the second hypostasis). Then music is considered inthe context of the relation between the uncreated Absolute (Tetrade A)and the created world (Tetrade B). Losev''s doctrine on the Tetrades Aand B (connected not by essence but by energies) is the importantmodification of Neoplatonism. Finally the article considers Losev''saccount of music in relation to the absolutized individual person. (shrink)

The interdisciplinary spring school “Language, music, and cognition: Organizing events in time” was held from February 26 to March 2, 2018 at the Institute of Musicology of the University of Cologne. Language, speech, and music as events in time were explored from different perspectives including evolutionary biology, social cognition, developmental psychology, cognitive neuroscience of speech, language, and communication, as well as computational and biological approaches to language and music. There were 10 lectures, 4 workshops, and 1 student poster session. Overall, (...) the spring school investigated language and music as neurocognitive systems and focused on a mechanistic approach exploring the neural substrates underlying musical, linguistic, social, and emotional processes and behaviors. In particular, researchers approached questions concerning cognitive processes, computational procedures, and neural mechanisms underlying the temporal organization of language and music, mainly from two perspectives: one was concerned with syntax or structural representations of language and music as neurocognitive systems (i.e., an intrapersonal perspective), while the other emphasized social interaction and emotions in their communicative function (i.e., an interpersonal perspective). The spring school not only acted as a platform for knowledge transfer and exchange but also generated a number of important research questions as challenges for future investigations. (shrink)

The strict lockdown experienced in Spain during March–June 2020 as a consequence of the COVID-19 crisis has led to strong negative emotions. Music can contribute to enhancing wellbeing, but the extent of this effect may be modulated by both personal and context-related variables. This study aimed to analyze the impact of the two types of variables on the perceived efficacy of musical behaviors to fulfill adults’ emotional wellbeing-related goals during the lockdown established in Spain. Personal variables included age, gender, musical (...) training, personality, resilience, and perception of music’s importance. Contextual variables referred to living in a region with a high COVID-19 impact, perception of belonging to a risk group, being alone, having caring responsibilities during confinement, and amount of time of music listening as compared to prior to the crisis. The study was conducted retrospectively during August–December 2020, when the strict lockdown was over in Spain. An online survey was disseminated among the general population and groups of musicians, and the answers of 507 adults were analyzed. Only personal, but not COVID-19 context-related variables, showed an impact on music’s efficacy. The youngest age group of adults and those with musical training reported the highest efficacy of music for wellbeing enhancement, and music’s importance was found to be the main significant predictor of music’s perceived efficacy. Our findings suggest that the people who have been reported to be emotionally more vulnerable during the lockdown, due to either a strong impact on their daily lives or their lower resilience, perceive a higher benefit from musical behaviors. Being musically trained, even for a small number of years, also leads to a perception of higher efficacy of music for the achievement of emotional wellbeing goals. However, this effect is explained by the musically trained individuals’ higher perception of music’s importance. Although musical behaviors can be generally considered as important for wellbeing enhancement, our study highlights who are the potential individuals who could benefit the most from music-related activities for obtaining better levels of wellbeing, at least within the current context of the COVID-19 crisis. (shrink)

In this scholarly, well-planned, and well-documented number in the series "Seminar in the History of Ideas," Professor Boas, in these days of the People's Revolution, shows himself an unrepentant elitist. Illustrative of this attitude is his statement in the fourth essay: "Hideous as such a view seems to a modern reader softened by humanitarianism, it would be well if we could tell in advance whom God has chosen to be lettered. There is certainly little sense in wasting a college education (...) on anyone predestined to be an ass or an ox." Boas' wish to avoid the people as much as possible determines the orientation of many of the eight essays in this book about the history of the people in art, literature, music, and politics. In the second essay, "Who are the People?" he explores the various religious, social, and political contexts in which the term "People" has been used, and concludes that its reality is only nominalistic, since the term has had so many diverse meanings. In "The People as Poet," he creates a multi-faceted study of the rural muse, of national traits expressed in poetry, and of folk forms. But in doing so, he argues against the collectivist theory of creation and dismisses the poetic products of country-folk as strictly derivative. Boas barely alludes to the phenomenon of oral composition. He is evidently unaware that this tradition was as alive in twentieth-century Yugoslavia as in Homer's Greece. Consideration of such evidence might have caused him to modify his unqualified attribution of a monopoly on poetic creation to the individual poet. A good part of the penultimate essay, "The People as Musician," is devoted to a survey of nineteenth-century movements of cultural and political internationalism. The other half explores the possibility of artistic expression of the "national soul," an idea which the author particularly disparages in the case of music because of the limits of symbolism of the medium. In "Egalitarianism," Boas surveys the condition of the working man and pronounces that all is well; the lucky fellow works in modern, clean factories--no noisier than his TV-dominated home--and stands on the verge of full participation with management in the benefits of production. Despite its ideological naÏvetés, the book remains a model of scholarly talent and discipline, as well as a mine of standard and esoteric information on the history of the "People" in many fields. An index, bibliography, and fourteen plates depicting the "People" in art are included.--C. M. R. (shrink)

The subject of the study. The article analyzes a number of aspects of Brahms' intermezzo Op. 119 No. 3 in order to detect non-classical tendencies manifested in the structure of the musical fabric and the principles of shaping in this work. Research methodology. In the course of the study, the method of holistic analysis was used, which includes consideration of the features of harmony, textural originality, thematic processes and form-forming patterns in the Brahms intermezzo Op. 119 No. 3. Elements of (...) comparative analysis were also applied. The scientific novelty of the work consists in the fact that as a result of the research it was possible to identify a number of non-classical qualities of Brahms' music, namely: the homogeneity of the sound fabric, a weak degree of differentiation of relief and background in texture, the absence of common forms of sound and passive fragments in musical form. The conceptual kinship of Brahms' principles of working with musical material with the technique of interpenetration of object and space, which became widespread in painting at the beginning of the XX century, was also discovered. Conclusions, the results obtained allow us to conclude that Brahms' intermezzo Op. 119 No. 3 implements a number of non-classical principles of working with musical material that anticipate the discoveries of composers of the Novovensky school. The results of the research can be used in the process of further study of Brahms' creativity and various theoretical aspects of music at the turn of the XIX–XX centuries, as well as in performing and pedagogical practice. (shrink)

In this paper, based on computer reading and processing of music frequency, amplitude, timbre, image pixel, color filling, and so forth, a method of image style transfer guided by music feature data is implemented in real-time playback, using existing music files and image files, processing and trying to reconstruct the fluent relationship between the two in terms of auditory and visual, generating dynamic, musical sound visualization with real-time changes in the visualization. Although recommendation systems have been well developed in real (...) applications, the limitations of CF algorithms are slowly coming to light as the number of people increases day by day, such as the data sparsity problem caused by the scarcity of rated items, the cold start problem caused by new items and new users. The work is dynamic, with real-time changes in music and sound. Taking portraits as an experimental case, but allowing users to customize the input of both music and image files, this new visualization can provide users with a personalized service of mass customization and generate personalized portraits according to personal preferences. At the same time, we take advantage of the BP neural network’s ability to handle complex nonlinear problems and construct a rating prediction model between the user and item attribute features, referred to as the PSO-BP rating prediction model, by combining the features of global optimization of particle swarm optimization algorithm, and make further improvements based on the traditional collaborative filtering algorithm. (shrink)