The ancient Greeks already used to give ethnic names to their different scales, and observations on differences in music of the various nations always raised the interest of musicians and philosophers. Yet, it was only in the late nineteenth century that “comparative musicology” became an institutional science. An important role in this process was played by Carl Stumpf, a former pupil of Brentano’s who pioneered these researches in Berlin. Stumpf founded the Phonogrammarchiv to collect recordings of folk and (...) extra-European music and a dedicated journal, the Sammelbände für vergleichende Musikwissenschaft. Gifted in the field of science no less than in that of musicology, Stumpf developed an empirically-oriented approach to phenomenology, deeply divergent from Husserl’s and highly influential over the Berlin school of Gestalt psychology. A self-declared “outsider” among armchair philosophers, Stumpf experimentally investigated the perception of sounds and the origins of musical consonance. Developing the physiological studies of Ernst Weber on the sense of touch, Stumpf discovered that two sensations of tone, given at the same time, tend to mix in a certain degree. Musical consonance – he claimed – lays in this level of “tonal fusion”, not in the allegedly “natural” series of the harmonic partials of a vibrating chord, as suggested by the naturalists of all times from Pythagoras to Stumpf’s great contemporary Hermann Helmholtz. Accordingly, no musical system can claim for preponderance over the others: Stumpf’s researches in comparative musicology served to corroborate his theses on “tonal fusion” and the psychological foundations of consonance. Although Stumpf later revised and finally abandoned this theory, its permanent value lays in its opposition to dominant naturalistic approaches. The commitment for comparative musicology at the Berlin School is then no concession to a positivistic fashion for exoticism. The fundamentally Eurocentric stance of naturalistic theories of music is also fiercely contrasted by Stumpf’s pupil Erich Hornbostel, who suggests that music ought to be considered as culture, rather than as nature, and focuses attention on the eventually melting human cultures. The Berlin school flourished until the Nazis forced most of its exponents to emigration and, for tragically obvious reasons, heavily discouraged researches on these topics. (shrink)

Summary Is it possible to discover the critical realist foundations of Gestalt theory in Berlin comparative musicology (vergleichende Kunstwissenschaft) associated above all with Erich M. von Hornbostel? The balance of natural science explanation and phenomenal experience is a useful model for overcoming Eurocentrism in comparative ethnomusicology, relying both on third-person tools and indigenous music systems. This paper uses Gestalt critical realist epistemology and methodology and a portrayal of the strata making up the understanding of a musical act (...) with chemico-physical, phenomenal and cultural components to create an “amphibian” ethnomusicology. Using this framework it is possible to understand Hornbostel and Sachs’ musical instrument classification system and Hornbostel’s account of “primitive” music as strata in a Gestalt explanatory system. The potential binding agent through the strata is isomorphism. (shrink)

Two themes in music cognition research are highlighted—inspired by the contributions in this volume: (a) statistical learning and (b) evolutionary theorizing. Our ability to test alternatives to statistical learning is threatened by the rapidly diminishing opportunities for cross‐cultural studies unconfounded by bimusicalism. Our ability to infer possible evolutionary origins for music is confounded by the “hedonic plenitude” of modern music‐making—where multiple pleasure channels are activated simultaneously. Cognitively inspired music research will benefit by studying a wider range of musical cultures. Evolutionary (...) theorizing will benefit by further work involving comparative animal behavior. (shrink)

Language- and music-readiness are demonstrated as related within comparative neuroprimatology by elaborating three hypotheses concerning music-readiness (MR): The (musicological) rhythm-first hypothesis (MR-1), the combinatoriality hypothesis (MR-2), and the socio-affect-cohesion hypothesis (MR-3). MR-1 states that rhythm precedes evolutionarily melody and tonality. MR-2 states that complex imitation and fractionation within the expanding spiral of the mirror system/complex imitation hypothesis (MS/CIH) lead to the combinatorial capacities of rhythm necessary for building up a musical lexicon and complex structures; and rhythm, in connection with (...) repetition and variation, scaffolds both musical form and content. MR-3 states that music’s main evolutionary function is to self-induce affective states in individuals to cope with distress; rhythm, in particular isochrony, provides a temporal framework to support movement synchronization, inducing shared affective states in group members, which in turn enhances group cohesion. This document reviews current behavioural and neurocognitive research relevant to the comparative neuroprimatology of music-readiness. It further proposes to extend MS/CIH through the evolution of the relationship of the language- and music-ready brain, by comparing “affective rhythm” and prosody – i.e. by comparatively approaching the language- and music-emotion link in neuroprimatology. (shrink)

Among the fields of music study, ethnomusicology has wrestled most self-consciously with matters of representation. Since its inception in the late nineteenth century as vergleischende Musikwissenschaft [comparative musicology] and throughout its turbulent history, ethnomusicology has been centrally and vitally concerned with at least three basic issues and their numerous ramifications. First is the problem of locating disciplinary boundaries: is ethnomusicology a subfield of musicology, does it belong under anthropology or ethnology, or is it an autonomous discipline?1 Second (...) is the problem of translation: what factors influence the attempt to translate the reality of other musical cultures into audio and visual recordings, verbal accounts, and transcriptions in musical notation? Is there a viable “theory of translatability”?2 Third is a network of political and ideological matters: what sorts of ethical issues constrain the practical effort to understand another culture? What is the relation between empire and ethnomusicological representation? Can we—that is, is it a good thing to—study any music without taking note of the social, economic, political, and technological circumstances of its producers? 1. A concise introduction to the field of ethnomusicology, its history, personalities, and method may be found in Barbara Krader, “Ethnomusicology,” in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 20 vols. , 6:275-82. The most comprehensive recent discussion of key issues in ethnomusicological research is Bruno Nettl, The Study of Ethnomusicology: Twenty-nine Issues and Concepts .2. See Johannes Fabian, Time and the Other: How Anthropology Makes Its Object , p. 43. Kofi Agawu teaches at Cornell University and is the author of Playing with Signs: A Semiotic Interpretation of Classic Music. (shrink)

Summary During his prolific career, the German Jewish scientist Franz Boas (Minden, 1858 - New York, 1942) recognized as the founding father of American Cultural Anthropology – maintained assiduous contacts with the European scientific community, in a privileged way with that of the German area. The contribution addresses the Boasian correspondence with the two directors of the Berliner Phonogramm-Archiv, the philosopher and psychologist Carl Stumpf, and the ethnomusicolo-gist Erich Moritz von Hornbostel. All three were united by a common scientific experimental (...) training and a solid musical education, typical of their Bildungsbu ü rgertum. With them, Boas consistently shared his fieldwork findings regarding music, sound, and language among the Indians of British Columbia: indeed, their epistolary exchanges intertwine epistemological reflections centered on the study of «exotische Musik» in context with technical problems, derived from the use of phonographic recordings and the relative shipments of wax cylinders by Boas to the Phonographic Archive. So far, the critical literature has not paid particular attention to their correspondence, that offer instead a privileged look in observing the birth of Ethnomusicology, at the time still defined as comparative Musicology (vergleichende Musikwissenschaft). Starting from a biographical contextualization and following the micro-history of the scientific and personal relationship of these scientists, the contribution aims to explore the hypothesis that the emerging Ethnomusicology significantly contributed to the definition of Cultural Anthropology as a discipline. In his painstaking research devoted to the Native Indian sounds and languages, Boas observed indeed what happens if a mind is exposed to a new sound, musical or linguistic context; he had therefore to rigorously deal with the phenomena of mishearing, sound-blindness and biasing filter related to the perception of «new sounds». Thanks to his fieldwork, Boas would endorse a relativistic and “in context” approach to perception and mental representations of sounds, fostering his eventual lifelong, hectic concern about a broaden antiracist theory of human mental functions. (shrink)

In dieser Studie wird erstmals der Versuch unternommen, die bei der Klassifikation von Musik zur Anwendung gelangenden Kriterien und ihre Interdependenzen systematisch zu erfassen und zu beschreiben. Als Quellen dienen dabei Typologien der Musik aus der Zeit vom sechsten (Boethius) bis zum neunzehnten Jahrhundert (A.B. Marx und Ferdinand Hand) sowie die bisherigen musikwissenschaftliche Ansatze einer Gattungstheorie. Unter Einbeziehung von Erkenntnissen aus der Literaturwissenschaft werden insgesamt acht Grundkriterien der Klassifikation erlautert. Mit ihrer Hilfe lassen sich die vorliegenden Definitionen und Typologien vergleichend (...) analysieren und in Beziehung zueinander setzen. AbschlieBend geht die Studie der Frage nach, ob der Gattungsbegriff in der zeitgenossischen Kunstmusik tatsachlich - wie von einigen Autoren postuliert - obsolet geworden ist. Die Antwort darauf ist negativ: Als Verstandnishilfe fur die Rezipienten von zeitgenossischer Kunstmusik sind Gattungen heute womoglich wichtiger als jemals zuvor. Dr. phil. (Univ. Hamburg) Wolfgang Marx, geboren 1967 in Bremen, studierte Historische und Systematische Musikwissenschaft sowie Philosophie an der Universitat Hamburg. Nach Abschluss des Studiums Horspielautor und Product Manager in der Tontragerindustrie, Abteilungsleiter eines Internet-Musikvertriebs. Seit 2002 Dozent am Department of Music des University College Dublin. Aufsatze u.a. zu Orgeltabulaturen des Mittelalters, zum Werk Gyorgy Ligetis, zum Requiem als musikalischer Gattung sowie zu Methoden und Inhalten musikwissenschaftlicher Forschung und Lehre. Mitherausgeber der "Frankfurter Zeitschrift fur Musikwissenschaft" sowie des "Journal of the Society for Musicology in Ireland". This study tries, for the first time, exhaustively to collect and describe the criteria used to classify music and to consider the interrelationship between these criteria in a systematic way. Typologies of music from the sixth century (Boethius) to the nineteenth (A.B. Marx and Ferdinand Hand) serve as sources for this study, as well as musicological writings on genre theory. Partly by exploiting the findings of literary criticism, eight basic criteria of classification are developed. They allow a comparative analysis of all existing musical definitions and typologies. Finally, the study discusses whether or not genres have become obsolete in contemporary art music (as some scholars have proclaimed). The answer is negative: genres today are perhaps more important in supporting an adequate reception of contemporary art music than at any other time in history. Wolfgang Marx was born in 1967 in Bremen. He studied Historical and Systematic Musicology and Philosophy at Hamburg University where he took the Dr phil in 2002. He was Product Manager for Berlin Classics in 1998 and Catalogue Manager of an internet music retailer in Hamburg in 2000. Since 2002, he has held a permanent Lectureship in Musicology at University College Dublin. He has co-edited a volume on Gyorgy Ligeti, published on Medieval organ tablatures and the requiem as a musical genre, and is co-editor of the Frankfurter Zeitschrift fur Musikwissenschaft and the Journal of the Society for Musicology in Ireland. (shrink)

Despite its growing prominence on social and media platforms, scholarly engagement with music criticism today remains unexpectedly limited, especially when compared to the extensive attention devoted to visual and literary criticism. This article seeks to revitalize the discourse by confronting the biases that have long undermined the credibility of music critics in the eyes of both musicians and the public. Inspired by the myth of King Midas—punished by Apollo for his “misguided” musical judgment—the discussion investigates the persistent critiques leveled at (...) music critics, such as accusations of arbitrariness, inadequacy, and irrelevance. Central to this analysis are key questions: how can critics establish authority when their judgments are often shaped by prevailing cultural trends, what expertise distinguishes them from the average listener, and how do they articulate music’s ephemeral essence in words? To address these questions, the article examines the critic’s role through the lenses of journalism, musicology, and criticism itself, highlighting the tension between objectivity and subjectivity and identifying the distinctive skills necessary for effective critique. (shrink)

Music and language are universal human abilities with many apparent similarities relating to their acoustics, structure, and frequent use in social situations. We might therefore expect them to be understood and processed similarly, and indeed an emerging body of research suggests that this is the case. But the focus has historically been on the individual, looking at the passive listener or the isolated speaker or performer, even though social interaction is the primary site of use for both domains. Nonetheless, an (...) important goal of emerging research is to compare music and language in terms of acoustics and structure, social interaction, and functional origins to develop parallel accounts across the two domains. Indeed, a central aim of both of evolutionary musicology and language evolution research is to understand the adaptive significance or functional origin of human music and language. An influential proposal to emerge in recent years has been referred to as the social bonding hypothesis. Here, within a comparative approach to animal communication systems, I review empirical studies in support of the social bonding hypothesis in humans, non-human primates, songbirds, and various other mammals. In support of this hypothesis, I review six research fields: (i) the functional origins of music; (ii) the functional origins of language; (iii) mechanisms of social synchrony for human social bonding; (iv) language and social bonding in humans; (v) music and social bonding in humans; and (vi) pitch, tone and emotional expression in human speech and music. I conclude that the comparative study of complex vocalizations and behaviors in various extant species can provide important insights into the adaptive function(s) of these traits in these species, as well as offer evidence-based speculations for the existence of “musilanguage” in our primate ancestors, and thus inform our understanding of the biology and evolution of human music and language. (shrink)

Starting from the late Renaissance, efforts to make vocal music more expressive heightened the power of words, which, in turn, gave birth to the modern semantics of musical expression. As the skepticism of seventeenth-century science divorced the acoustic properties from the metaphysical qualities of music, the door was opened to dicern the rich links between musical perception and varied mental faculties. In Tuning the Mind, Ruth Katz and Ruth HaCohen trace how eighteenth century theoreticians of music examined anew the role (...) of the arts within a general theory of knowledge. As the authors note, the differences between the physical and emotional dimensions of music stimulated novel conceptions and empirical inquiries into the old aesthetic queries. Tracing this development, their opening chapter deals with seventeenth-century epistemological issues concerning the artistic qualities of music. Katz and HaCohen show that painting and literature displayed a comparable tendency toward "musicalization," whereby the dynamic of forms-the modalities specific to each artistic medium-rather than subject matter was believed to determine expression. Katz and HaCohen explore the ambiguities inherent in idealization of an art form whose mimetic function has always been problematic. They discuss the major outlines of this development, from Descartes to Vico through Condillac. Particular emphasis is placed on eighteenth-century British thinkers, from Shaftesbury to Adam Smith, who perceived these problems in their full complexity. They also explore how the French and the Germans dealt differently with questions that preoccupied the British, each nation in accordance with their own past tradition and tendencies. The concluding chapter summarizes the parallel development of abstract art and basic hypotheses concerning the mind and explores basic theoretical questions pertaining to the relationship between perception and cognition. In addressing some of the most complex problems in musical aesthetics, Katz and HaCohen provide a unique historical perspective on the ways their art creates and develops coherent worlds, and, in so doing, contribute to our understanding of the workings of the mind. Ruth Katz is Emanuel Alexandre Professor of Musicology at the Hebrew University in Jerusalem. She is co-editor with Carl Dahlhaus of Contemplating Music, a four-volume study of the philosophy of music. Ruth HaCohen is Clarica and Fred Davidson Senior Lecturer of Musicology at the Hebrew University. (shrink)

This comprehensive Handbook offers a leading-edge yet accessible guide to the most important facets of Arthur Schopenhauer's philosophical system, the last true system of German philosophy. Written by a diverse, international and interdisciplinary group of eminent and up-and-coming scholars, each of the 28 chapters in this Handbook includes an authoritative exposition of different viewpoints as well as arguing for a particular thesis. Authors also put Schopenhauer's ideas into historical context and connect them when possible to contemporary philosophy. Key features: Structured (...) in six parts, addressing the development of Schopenhauer's system, his epistemology and metaphysics, aesthetics and philosophy of art, ethical and political thought, philosophy of religion and legacy in Britain, France, and the US. Special coverage of Schopenhauer's treatment of Judaism, Christianity, Vedic thought and Buddhism Attention to the relevance of Schopenhauer for contemporary metaphysics, metaethics and ethics in particular. The Palgrave Schopenhauer Handbook is an essential resource for scholars as well as advanced students of nineteenth-century philosophy. Researchers and graduate students in musicology, comparative literature, religious studies, English, French, history, and political science will find this guide to be a rigorous and refreshing Handbook to support their own explorations of Schopenhauer's thought. (shrink)

Inside Knowledge: (Un)doing Ways of Knowing in the Humanities is a collection of original essays proposing a fresh examination of epistemological questions relevant to scholars in any discipline of the humanities. Is objective knowledge still a viable ideal? Can art produce or express knowledge of any kind? Is the body a promising medium for a knowledge less abstract or logocentric than the kind Western culture has favoured so far? How are epistemological regimes maintained with the use of established linguistic tropes? (...) Is knowledge to be resisted or employed as a tool of resistance? Distinguished as well as young, emerging scholars from disciplines such as philosophy, comparative literature, musicology and art theory discuss concrete case studies in which these questions arise. The essays share a commitment to interdisciplinary approaches and the close analysis of cultural objects, and refuse to take for granted the conventional methodologies that often guide research projects in their respective fields. The Inside Knowledge volume stages encounters between different ways of knowing, which contribute to an interdiciplinary understanding of the concept of knowledge and of epistemological questions in the humanities. (shrink)

This article examines an account of the listener's musical understanding put forward by Stephen Davies. I begin by discussing Davies's "expressibility requirement", according to which a musical listener should be able to express his understanding in sentences that are truth-apt. This is followed by a reconstruction of Davies's argument for the idea that high levels of musical understanding can be attained without possessing music-theoretical concepts. Such a conclusion is seen to follow from his belief that although musical understandings may be (...) evaluatively compared in terms of the concepts of music theory, the listeners themselves can always fulfil the expressibility requirement by employing simple "folk-musicological" terminology. I will attempt to show that this premise is questionable in the light of some central cases of music-structural understanding. I conclude by examining the relationship between Davies's expressibility requirement and the claim that musical understandings are evaluatively commensurable. (shrink)

Why do humans make music? Theories of the evolution of musicality have focused mainly on the value of music for specific adaptive contexts such as mate selection, parental care, coalition signaling, and group cohesion. Synthesizing and extending previous proposals, we argue that social bonding is an overarching function that unifies all of these theories, and that musicality enabled social bonding at larger scales than grooming and other bonding mechanisms available in ancestral primate societies. We combine cross-disciplinary evidence from archeology, anthropology, (...) biology, musicology, psychology, and neuroscience into a unified framework that accounts for the biological and cultural evolution of music. We argue that the evolution of musicality involves gene–culture coevolution, through which proto-musical behaviors that initially arose and spread as cultural inventions had feedback effects on biological evolution because of their impact on social bonding. We emphasize the deep links between production, perception, prediction, and social reward arising from repetition, synchronization, and harmonization of rhythms and pitches, and summarize empirical evidence for these links at the levels of brain networks, physiological mechanisms, and behaviors across cultures and across species. Finally, we address potential criticisms and make testable predictions for future research, including neurobiological bases of musicality and relationships between human music, language, animal song, and other domains. The music and social bonding hypothesis provides the most comprehensive theory to date of the biological and cultural evolution of music. (shrink)

The article aims to concretize the phenomenological account concerning the problem of an auditory image. The author considers auditory imagery as a scientific object and compares different treatments of the problem to fix the potential and advantages of its phenomenological interpretation. In the first stage of the study, the author distinguishes the key characteristics of the image by means the lexical analysis. This is the perceptual (predominantly visual) nature of an image, integrality, and essentiality (image as an idea). In the (...) second stage, the understandings of the mental and auditory imagery in physiology, experimental psychology, music psychology, musicology, and interdisciplinary studies are described. In the third stage, the peculiar phenomenological ways of the comprehension of an auditory image are revealed. The phenomenological interest is to pick out consciousness which perceiving of an image equally from the process of perceiving and from entailing in an image. The specific phenomenological stance is placing an auditory image on the bound of transcendent (the process of perceiving) and immanent (an image that is already perceived). The auditory image is conceived as the unity of Modi of its givenness. Most fecks of this Modi are original, they cannot be transferred into other science scopes: they are the interconnection of all moments of the temporal unfolding, self-organization in the time, self-referentiality, non-semanticity, periodicity/randomness, eventuality, quasi-embodiment (physicality). Solely phenomenological problems are problems of the constitution of an auditory image, its life-horizon, intersubjectivity, and regional matching. The author infers that phenomenology does not conceive auditory image as sustained auditory representation, associated with acoustic memory. Its perceptual nature does not play a key role here. Moreover, the perceptual-semantic duality of the image is not fixed by the phenomenological description. The phenomenological approach is unique because it researches auditory data exhaustively but does not use semantic and referential analysis of them. The main feature of phenomenological description is the focus on the unity of auditory image: All the elements of auditory data are interpreted in their synthesis as the different levels of the unity of hearing image. Thus, the phenomenological approach as a whole is the most promising for comprehending such a dominant quality of the auditory image as integrality. (shrink)

Of course, music performance has a long “artisanal” history. After all, the training of musicians to perform has been the mainstay of academies and conservatoria for centuries. But the discipline of music performance as part of an academic musicology is a much more recent invention. We argue that it arises some time in the 1960s, when scholars could begin to write comparative histories of performance and think difference choices as to performance style. Against the now sterile authentic/non-authentic, modern/post-modern (...) debates that characterise contemporary music studies, we propose that the various approaches might be classified according to the three Lacanian registers of the Imaginary, the Symbolic and the Real. We put forward a certain “Real” at stake in performance, although it could never be the basis of any practice, musical manifesto or even properly belong to a history of music performance. (shrink)

The article examines the influence of ancient Chinese philosophical concepts on the formation of modern piano art in China. Ancient Chinese materialistic philosophy is based on such teachings as Wu-xing and Yin-Yang, the Great Limit (Tai Chi), the eight trigrams and others. With the passage of time and the rapid development of science, these philosophical concepts not only did not lose their significance, but also had a powerful influence on the formation of modern Chinese piano creativity, deeply influenced the form (...) and cultural connotation of Chinese music, and also became the theoretical basis for the works of many modern composers. The philosophical and aesthetic Taiji system presented by composer Zhao Xiaosheng, integrated into the modern piano composition system, marked the beginning of a revolution in the field of piano art, combining the theoretical foundations of traditional Chinese philosophy and the principles of modern composition methods. The research methodology is based on philosophical and cultural analysis, musicological analysis, and semantic analysis. Of particular interest is the comparative analysis of the musical and philosophical "Tai chi composition system" by Zhao Xiaoshen, the dodecaphony of A. Schoenberg and the set theory of M. Babbitt and A. Fort, which the Chinese composer considers the sources of his creativity. The novelty of the research lies in the fact that a correlation is proposed between the key categories of ancient Chinese philosophy and modern experiments in the field of musical expression. The authors managed to demonstrate the high degree of influence of Chinese philosophy on music, to clearly show that the basic postulates of ancient Chinese philosophy have been encoded in the basis of traditional Chinese music since ancient times, and in the twentieth century they were the basis of modern Chinese theory of composition, while playing a colossal role in identifying the common foundations of modern composition of the West and East, while preservation of local features of the diverse sphere of these cultures. The emergence and formation of a philosophical and theoretical system of musical composition, based on the concepts of classical Chinese philosophy, organically refracted in the latest achievements of Western music composition, emphasizes the ontological significance of these concepts for both Eastern and Western culture. And the creation of appropriate musical works undoubtedly leads to positive trends in the development of modern Chinese music and classical Chinese philosophy. (shrink)

Članek prinaša štiri poglede na hermenevtiko glasbe, ki so osredotočeni na 1) vzpostavljanje hermenevtičnega obzorja, 2) zgodovinske umestitve hermenevtike glasbe, 3) teoretsko razmejitev glasbene povednosti v muzikologiji in 4) spoznavoslovne razmejitve glasbene povednosti. Osrednja pozornost pri vseh štirih pogledih je naravnana k vprašanju: katere epistemološke ravni kaže upoštevati, ko govorimo o hermenevtiki glasbe kot muzikološkem pojmu v najširšem smislu?Različne fasete, ki tvorijo hermenevtiko glasbe, zato narekujejo za glavni cilj prispevka: očrtati meje med hermenevtiko kot teoretskim sistemom, ki temelji na metodah (...) vzporejanja glasbenega stavka z "zunajglasbenimi" pojavi, in hermenevtiko kot "kulturno institucijo" ali pragmatičnim pristopom, ki poleg spoznavoslovnih prednosti prinaša tudi vrsto pasti.Four different sketches of musical hermeneutics are given, focused respectively on 1) the formation of the hermeneutical horizon, 2) historical framings of the musical hermeneutics, 3) theoretical division of the musical meaning within musicology, and 4) epistemological layering of the musical narrativity. The main focus of the four sketches is to discuss single issues arising from the following question: which levels of epistemology should be considered to define hermeneutics of music as a musicological term.Because of the various facets involved, the main aim of this article is to sketch the boundaries between hermeneutics as a theoretical system founded on comparative methods and hermeneutics as the "cultural institution", or a pragmatic approach, bringing about not only epistemological advantages but also a number of issues. (shrink)

The last twenty years or so have seen a surge of interest in the philosophy of music. However there is comparatively little philosophical literature devoted specifically to songs, singing and vocal music in general. This new collection of essays on the philosophical aspects of song and singing includes articles on the relationship between words and music in songs, the ontology of songs and recordings, meaning in songs, the metaphysics of vocal music in opera and the movies, and the ethical challenges (...) raised in song performance. The essays discuss a large range of examples, including rock, lieder, jazz songs, blues, doo wop, and rap. New essays by leading philosophers of art, including Peter Kivy (on "realistic song" in film), Jerrold Levinson (on jazz singing), Lee B. Brown (on the "minstrel hypothesis" in popular music), and Ted Gracyk (on linguistic pragmatics and song meaning). Papers that offer ground-breaking theories of the appreciation of rock recordings, the ethical implications of popular songs, the ontology of ephemeral artworks, the ontological status of cover versions, and of how a genre of popular music can both express and be a function of its social context papers that challenge existing accounts of much-debated topics, including operatic metaphysics and of the ontology of recorded music. Interdisciplinary essays that cut across aesthetics, philosophy of music, cultural music studies and musicology. Essays that are clearly written and engaging. (shrink)

The article is devoted to the life and work of the first Even composer P.M. Starostin in the context of the development of national composition schools of the East. The purpose of the study is to review the life and work of the Even composer P.M. Starostin. The object of the study is the professional musical art of the Even people, the subject of the study is the creative heritage of the first Even composer. The research is based on (...) class='Hi'>comparative and typological methods, taking into account the theoretical developments of Russian musicologists in the field of studying the patterns of development of young national composer schools. The main conclusions include the following. The formation of the first Even composer P.M. Starostin took place within the framework of the Yakut national School of composition. The main source of P.M. Starostin's creativity was the rich Even folklore: epic tales, ritual genres, song lyrics. The creative heritage of P.M. Starostin is distinguished by originality and genre originality: from large forms – operas and cantatas to chamber-vocal works and compositions for children. The geography of the spread of young national composer schools has advanced to the north-east of Russia, where the Yakut National Composer School is currently functioning quite actively. The Yakut National School of Composition is already becoming a new center itself, on the periphery of which the prerequisites for the formation of national composition schools of the small peoples of the North living in the Arctic zone are being formed. The experience of reviewing the work of the first Even composer P.M. Starostin, considered by us in the article, marks this process. The novelty of the research lies in the fact that for the first time data on the life and work of the Even composer P.M. Starostin are introduced into scientific circulation. Until now, his name has remained virtually unknown to musicology. Such a review is being conducted for the first time. (shrink)

Paul Goguen once said that art is either plagiarism or revolution. That is certainly true of music. From pop to jazz to classical music, there’s a long history of borrowing, lifting, and stealing from other composers, along with other ways of building on their artistic contributions. Here I try to put some order in the complex picture that emerges from such a history, with an eye to the criteria—if any—that underlie the complex ways in which we compare, identify, and categorize (...) musical works. (shrink)

This article offers a comparative study of the views of Alexis de Tocqueville and those of several Chinese thinkers of the late Ming dynasty (1368–1644)—primarily Gu Yanwu, Huang Zongxi, Wang Fuzhi—on the socio-political processes of centralization. My central claim is that their views of political centralization and of the decentralized polycentric society that preceded it in their respective countries exhibit a remarkable array of analogous structural features. More specifically, both Tocqueville and his Chinese counterparts perceive in centralization an inherent (...) unsustainability driven by its self-destructive nature: since the foundation and strength of statism depends on its social resources, the centralization of power inevitably results in the weakening of its own basis. I conclude that through their nuanced reinterpretation of self-interest, both parties advocate a “small-community-oriented communitarianism” instead of the increasingly centralized modern state. (shrink)

Since language provides the most typical paradigm of meaning, when we ask what meanings music may communicate, it will certainly be illuminative to compare these meanings with those conveyed by language. In particular we would want to ask an even more specific question: how, in general, the respective meanings of music and words are related in a vocal composition.

This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

"In this highly original book, Ada Agada responds to the question of how a philosophy can be African and at the same time universally relevant by constructing an original philosophical system that is at once African and universal. Drawing on African forms of thought and conceptual schemes like ethnophilosophy, ubuntu, sage philosophy, négritude, ibuanyidanda philosophy, and ezumezu logic, the author introduces new concepts and conceptual schemes like mood and proto-panpsychism into philosophical vocabulary and weaves them into a coherent and original (...) system that promises to significantly impact contemporary African philosophy. Arguing for intercultural and comparative philosophy as a desirable mode of philosophising in a continually globalising and interconnected world, the book demonstrates the universal applicability of consolationism. This book will be of interest to scholars in the fields of African Studies, intercultural philosophy, philosophy of mind, and existentialism"--. (shrink)

In this report we focus on the definition of autonomous weapons systems (AWS). We provide a comparative analysis of existing official definitions of AWS as provided by States and international organisations, like ICRC and NATO. The analysis highlights that the definitions draw focus on different aspects of AWS and hence lead to different approaches to address the ethical and legal problems of these weapons systems. This approach is detrimental both in terms of fostering an understanding of AWS and in (...) facilitating agreement around conditions of deployment and regulations of their use and, indeed, whether AWS are to be used at all. We draw from the comparative analysis to identify essential aspects of AWS and then offer a definition that provides a value-neutral ground to address the relevant ethical and legal problems. In particular, we identify four key aspects—autonomy; adapting capabilities of AWS; human control; and purpose of use—as the essential factors to define AWS and which are key when considering the related ethical and legal implications. (shrink)

Arguments for multiple realization depend on the idea that the same kind of function is realized by different kinds of structures. It is important to such arguments that we know the kinds used in the arguments have been individuated properly. In the philosophical literature, though, claims about how to individuate kinds are frequently decided on intuitive grounds. This paper criticizes this way of approaching kinds by considering how practicing researchers think about the matter. I will consider several examples in which (...) the practice of researchers on comparative vision conflicts with the standard account of these issues. (shrink)

Breaks through the cultural barriers between Western, Indian, and Chinese philosophy and demonstrates that despite considerable differences between these three great philosophical traditions, there are fundamental resemblances in their abstract principles.

Given that a person's death is bad for her,whenis it bad? I defendsubsequentism, the view that things that are bad in the relevant way are bad after they occur. Some have objected to this view on the grounds that it requires us to compare the amount of well-being the victim would have enjoyed, had she not died, with the amount she receives while dead; however, we cannot assign any level of well-being, not even zero, to a dead person. In the (...) population ethics literature, many philosophers have argued along similar lines that bringing someone into existence can neither harm nor benefit her. Working within the comparative framework (on which harms make us worse off), I respond by proposing a good sense in which we can say that dead people, and actual people at alternatives in which they do not exist, have a well-being level of zero. (shrink)

A comparative method of studying the biological bases of personality compares human trait dimensions with likely animal models in terms of genetic determination and common biological correlates. The approach is applied to the trait of sensation seeking, which is defined on the human level by a questionnaire, reports of experience, and observations of behavior, and on the animal level by general activity, behavior in novel situations, and certain types of naturalistic behavior in animal colonies. Moderately high genetic determination has (...) been found for human sensation seeking, and marked strain differences in rodents have been found in open-field behavior that may be related to basic differences in brain neurochemistry. Agonistic and sociable behaviors in both animals and humans and the trait measure of sensation seeking in humans have been related to certain common biological correlates such as gonadal hormones, monoamine oxidase (MAO), and augmenting of the cortical evoked potential.The monoamine systems in the rodent brain are involved in general activity, exploratory behavior, emotionality, socialization, dominance, sexual and consummately behaviors, and intracranial self-stimulation. Preliminary studies have related norepinephrine and enzymes involved in its production and degradation to human sensation seeking. A model is suggested that relates mood, behavioral activity, sociability, and clinical states to activity of the central catecholamine neurotransmitters and to neuroregulators and other transmitters that act in opposite ways on behavior or stabilize activity in the arousal systems. Stimulation and behavioral activity act on the catecholamine systems in a brain–behavior feedback loop. At optimal levels of catecholamine systems activity (CSA) mood is positive and activity and sociability are adaptive. At very low or very high levels of CSA mood is dysphoric, activity is restricted or stereotyped, and the organism is unsocial or aggressively antisocial. Novelty, in the absence of threat, may be rewarding through activation of noradrenergic neurons. (shrink)

Comparative process tracing is the best analysis of extrapolation inferences in the philosophical and scientific literature so far. In this essay I examine some similarities and differences between comparative process tracing and former attempts to capture the logic of extrapolation, such as the analogical approach. I show that these accounts are not different in spirit, although comparative process tracing supersedes previous proposals in terms of analytical detail. I also examine some qualms about the possibility of drawing extrapolation (...) inferences in the social sciences and conclude by suggesting that there may be cases of extrapolation without process tracing. (shrink)

A distinguished group of authors reflects on problems currently enlivening the space shared by philosophy and literary theory in a series of chapters that range in scope from Plato to postmodernism.

Abstract:One view of practical reasoning is that it involves the weighing of reasons. It is not clear, however, how the weights of reasons combine, especially given the logical and substantive relations among different reasons. Nor is it clear how the weighing of reasons relates to decision theoretic maximization of expected value. This paper constructs a formal model of reasons and their weight in order to shed light on these issues. The model informs philosophical debates about reasons, such as the question (...) of whether reasons or values are more fundamental and the opposing doctrines of atomism and holism about reasons. (shrink)

A widespread assumption in experimental comparative cognition is that, barring compelling evidence to the contrary, the default hypothesis should postulate the simplest cognitive ontology consistent with the animal’s behavior. I call this assumption the principle of cognitive simplicity . In this essay, I show that PoCS is pervasive but unjustified: a blanket preference for the simplest cognitive ontology is not justified by any of the available arguments. Moreover, without a clear sense of how cognitive ontologies are to be carved (...) up at the joints—and which tools are appropriate for the job—PoCS rests on shaky conceptual ground. (shrink)

This essay seeks to clarify the meaning and nature of normativity in metaethics and offers reasons why comparative religious ethics (CRE) must properly address questions about normativity. Though many comparative religious ethicists take CRE to be a normative discipline, what they say about normativity is often unclear and confusing. I argue that the third‐wave scholars face serious questions with respect to not only the justification of moral belief but also the rationality of moral belief and action. These scholars (...) tend to view the justification of moral belief to be a matter of process (that is, discursive social practice) rather than evidence‐possession, thus overlooking crucial differences between the two. They also run the risk of confusing motivating and explanatory reasons with normative reasons for moral belief and action. Consequently, their account of normativity would be insufficient for determining the rationality of moral beliefs and actions as well as for justifying moral beliefs. (shrink)

This article sets out the case for a mutual cross-fertilisation of normative cosmopolitan thought and the field of comparative political theory. Its argument is that both are useful to the other if...

Climate change fingerprint studies investigate the causes of recent climate change. I argue that these studies have much in common with Steel’s (2008) streamlined comparative process tracing, illustrating a mechanisms-based approach to extrapolation in which the mechanisms of interest are simulated rather than physically instantiated. I then explain why robustness and variety-of-evidence considerations turn out to be important for understanding the evidential value of climate change fingerprint studies.

This study in cross-cultural hermeneutics examines the role that modern, Western philosophy has played in the interpretation of Nagarjuna's Madhyamikakarika, a second-century Indian-Buddhist text. Tuck locates a structure of distinct phases or "styles" in modern, philosophical history. These phases, Tuck shows, exhibit discontinuous interpretive biases, as well as continuity of hermeneutic intention. Discovering in each philosophical era a chaacteristic attitude towards the text--whether privilege, objectivity, or neutrality--Tuck argues that the continual reinterpretation of earlier scholarly readings is in fact at the (...) core of fruitful hermeneutic pursuit. (shrink)

Comparative philosophy between two disparate cultural-philosophic traditions, such as Western and Chinese philosophy, has become a new trend of philosophical fashion in the late twentieth and early twenty-first centuries. Having learned from the past, contemporary comparative philosophers cautiously safeguard their comparative studies against two potential pitfalls, namely cultural universalism and cultural relativism. The Orientalism that assumed the superiority of the Occidental has become a memory of the past. The historical pendulum has apparently swung to the other extreme. (...) The more recent "reverse Orientalism" has started to reclaim the superiority of the Oriental. We have even been told that the twenty-first... (shrink)

There is considerable disagreement and even confusion over what forms of border‐crossing philosophizing are most appropriate to our times. Are comparative, cross‐cultural, intercultural, blended, and fusion philosophy all the same thing? Some critics find what they call “comparative philosophy” to be moribund or problematically colonialist; others assert that projects like “fusion philosophy” are intellectually irresponsible and colonialist in their own way. Can we nonetheless identify a distinctive project of comparative philosophy and say why it is important? Based (...) on a broad survey of approaches, this essay offers schematic answers to these questions, clarifies some persistent confusions, and stresses the constitutive gamble that lies at the heart of all comparative philosophy. There are several different ways to do comparative philosophy well; which method to employ depends on the values that motivate and the pragmatic situation that frames one's inquiry, and on the ways in which one or more communities receive and respond to one's contribution. (shrink)

This essay is an exploratory inquiry into possible Christian ethical residues in the field of comparative religious ethics (CRE), focusing particularly on the themes of tradition and canon, trajectories of ethical reflection, emancipatory criticism, common morality, and the notion of discipline. It is suggested that even if such traces exist, they may not be detrimental to the field as currently practiced.

Serena Olsaretti brings together new essays by leading moral and political philosophers on the nature of desert and justice, their relations with each other and with other values.