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

What is music, what is its value, and what does it mean? In this stimulating volume, Roger Scruton offers a comprehensive account of the nature and significance of music from the perspective of modern philosophy. The study begins with the metaphysics of sound. Scruton distinguishes sound from tone; analyzes rhythm, melody, and harmony; and explores the various dimensions of musical organization and musical meaning. Taking on various fashionable theories in the philosophy and theory of music, he presents (...) a compelling case for the moral significance of music, its place in our culture, and the need for taste and discrimination in performing and listening to it. Laying down principles for musical analysis and criticism, this bold work concludes with a theory of culture--and a devastating demolition of modern popular music. "A provocative new study."--The Guardian. (shrink)

The relationship between music and dance can sometimes be a ‘match’, a remarkable fit between the audible manifestation that music is and the visual or kinaesthetic manifestation that dance is. A match between two things seems to require a common measure with respect to which the match obtains. What can this be for two so different phenomena as music and dance? I argue that the most promising answer is: movement. This answer will not be satisfactory unless the (...) movement of music and the movement of dance are the same on some level. I suggest that they are: there are qualities of movement that guide both dancers and musicians when producing dance and music as perceptible phenomena. But the match in qualities is elusive, since the qualities are instantiated in different ways in music and dance, respectively. (shrink)

In the Essai sur Vorigine des langues (), Jean-Jacques Rousseau reports on an eighteenth-century curiosity that has, from time to time, fascinated musicians ...

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

Ever since its publication in 1947, Thomas Mann's Doktor Faustus,1 his last major novel, has triggered many discussions and scholarly analyses. Evidently, the fictitious life story of Adrian Leverkühn, the genius composer who strikes an unsavory bargain with the devil, abounds in literary artifice and ingenuity, drawing to that end from a nigh bottomless reservoir of extremely variegated cultural references.2 Leaving out strictly literary analyses, most critical attention for Mann's version of the Faust myth is centered on its politico-aesthetical motifs—its (...) allegedly strong Nietzschean-Adornian bias.3 This is understandable, not only considering Mann's vocal interest in these philosophical traditions but also... (shrink)

Representing Stephen Davies's best shorter writings, these essays outline developments within the philosophy of music over the last two decades, and summarize the state of play at the beginning of a new century. Including two new and previously unpublished pieces, they address both perennial questions and contemporary controversies, such as that over the 'authentic performance' movement, and the impact of modern technology on the presentation and reception of musical works. Rather than attempting to reduce musical works to a single (...) type, Davies recognizes a great variety of kinds, and a complementary range of possibilities for their rendition. (shrink)

Poetry is a literary art, and is often examined alongside the novel, stories, and theater. But poetry, much of it, has more in common with music, in important respects, than with other forms of literature. The emphasis on sound and rhythm in both poetry and music is obvious, but I will explore a very different similarity between them. All or almost all works of literary fiction have narrators—so it is said anyway—characters who, in the world of the fiction, (...) utter or write the words of the text thereby reporting the events of the story. But there is a very different way of understanding literary works, one applicable especially to poetry. Much music can be understood in a similar manner, and doing so nicely explains several important characteristics of listen-ers’ experiences. (shrink)

The argument by Mehr et al. that music emerged and evolved culturally as a credible signal is convincing, but it lacks one essential ingredient: a model of signaling behavior that supports the main hypothesis theoretically and empirically. We argue that signaling games can help us explain how musical structures emerge as population-level phenomena, through sender–receiver signaling interactions.

Savage et al. and Mehr et al. provide well-substantiated arguments that the evolution of musicality was shaped by adaptive functions of social bonding and credible signalling. However, they are too quick to dismiss byproduct explanations of music evolution, and to present their theories as complete unitary accounts of the phenomenon.

The question whether classical music is superior to pop music is discussed in everyday life, it is socially relevant regarding funding issues, and it is debated in the philosophy of music. The aim of this paper is to lay out the general structure of the evaluation of music and to show how classical music is superior to pop music. Its four main points are: (1) Musical works/styles/genres can be evaluated comparatively if we presuppose a (...) purpose that is pursued with listening to that music. (2) A musical work is more suitable for a purpose than another musical work because of their musical properties and because of the properties of the listener. (3) A purpose of listening to music is the mirroring of the listener’s personality. With regard to this purpose, classical music is more suitable than pop music. (4) Classical music is suitable for this purpose because it is sufficiently complex and it is ideally listened to in a focused manner. ' Keywords: aesthetics of music, evaluation of music, instrumentalism, aesthetic value, aesthetic relativism. (shrink)

In this essay I will suggest that part of what makes the young Jamaican poet Ishion Hutchinson so remarkable is the fact that much of his work – in this age of “anything goes” post-postmodernism – is clearly modernist poetry, in both structure and effect. This structure will be that explained in my expanded version of Michael Riffaterre’s semiotic theory of poetry, which deals withmodernistwork. I will suggest that one of the distinctive features of the latter is that a modern (...) poetic text is distinguished by two underlying “matricial” propositions, each of which generates a set of variant images having the same underlying semantic structure. Thisparadigmaticmethod of signifying is unique to poetry. Each matrix is reassembled by the reader from a comparison of the images of each set. The matrices are linked syntagmatically in a variety of relations such as negation or difference of scale. This bimatricial relation (subject-sign) has an intertextual counterpart (object-sign) of similar structure but different lexicon. The interpretant of these two complex signs has a sociolectic counterpart of similar lexicon but different structure. The semantic contrast thus established produces innovation, which is the other distinctive feature of modern poetry. It turns out that much of Hutchinson’s innovative work is structured in this way. (shrink)