'The Mind Hears': an Examination of Some Philosophical Perspectives on Musical Experience

Dissertation by Jeanette Bicknell on the scope and nature of the 'levels of understanding' that determine how we experience music, supervised by EWC and defended in May of 2000, as submitted to the Faculty of Graduate Studies in partial fulfilment of the requirements for the degree of Doctorate of Philosophy, Graduate Programme in Philosophy, York University, Toronto, Ontario

Beyond unwanted sound : noise, affect and aesthetic moralism

PhD ThesisThis thesis uses Baruch Spinoza’s notion of affect to critically rethink the correlation between noise, ‘unwantedness’ and ‘badness’. Against subject-oriented definitions, which understand noise to be constituted by a listener; and object-oriented definitions, which define noise as a type of sound; I focus on what it is that noise does. Using the relational philosophy of Michel Serres in combination with Spinoza’s philosophy of affects, I posit noise as a productive, transformative force and a necessary component of material relations. I consider the implications of this affective and relational model for two lineages: what I identify as a ‘conservative’ politics of silence, and a ‘transgressive’ politics of noise. The former is inherent to R. Murray Schafer’s ‘aesthetic moralism’, where noise is construed as ‘bad’ to silence’s ‘good’. Instead, I argue that noise’s ‘badness’ is secondary, relational and contingent. This ethico-affective understanding thus allows for silence that is felt to be destructive and noise that is pleasantly serendipitous. Noise’s positively productive capacity can be readily exemplified by the use of noise within music, whereby noise is used to create new sonic sensations. An ethicoaffective approach also allows for an affirmative (re)conceptualization of noise music, which moves away from rhetoric of failure, taboo and contradiction. In developing a relational, ethico-affective approach to noise, this thesis facilitates a number of key conceptual shifts. Firstly, it serves to de-centre the listening subject. According to this definition, noise does not need to be heard as unwanted in order to exist; indeed, it need not be heard at all. Secondly, this definition no longer constitutes noise according to a series of hierarchical dualisms. Consequently, the structural oppositions of noise/signal, noise/silence and noise/music are disrupted. Finally, noise is understood to be ubiquitous and foundational, rather than secondary and contingent: it is inescapable, unavoidable and necessary

Aspiring Performers and Aspiring Teachers: Some Aspects of the Socialization of Music Students

This thesis is concerned with certain aspects of the socialization of aspiring professional musicians. Specifically, it deals with factors which influence a music student\u27s self-appraisal of his skill and his choice of a specific profession within the music world

Stability and accuracy of long-term memory for musical pitch

Existing research gives an inconsistent picture of the nature of the cognitive processes underlying memory for musical information. A study was conducted to investigate the stability and accuracy of long-term memory for pitch amongst individuals who have not had musical training. The independent variable which was manipulated in this study was the pitch of each excerpt from a well-known pop song. Participants heard one long sequence of excerpts, each of which had been raised or lowered in pitch by one semitone, or been left unaltered. After hearing each excerpt, participants were asked to detect whether it was different from the original version of the song they remembered. The dependent variable under investigation in this study was the accuracy with which participants detected alterations in the pitch of familiar songs. Participants were significantly worse at detecting whether the pitch of an excerpt had been changed when the altered excerpt was preceded by an unaltered excerpt or vice versa, than when they heard two consecutive unaltered excerpts. This suggests that pitch memory is subject to interference from previously presented pitch information

From John Farnham to Lordi: the noise of music

In the field of music scholarship in general, it is popular music studies that have engendered the most innovative developments over the last several decades. As an academic formally based in literature and cognate theoretical fields, I would go further and offer the personal opinion that they have made some of the most interesting contributions to the methodologies of cultural studies over that period, fed by prior traditions of ethnomusicology and ethnography. One of the main reasons has a bearing on this article: it is impossible to write effectively about popular music, which is so predominantly independent of the printed score, without at least implicitly questioning the scopic orientations of cultural analysis and theory which dominate other fields (and indeed, sometimes music studies themselves). We can find an unfolding summary of the developments in popular music studies through what I suggest are the three most important academic journals in the field, which are, in order of seniority, Popular Music and Society (founded in the USA in 1971), Popular Music (UK, 1981) and Perfect Beat: the Pacific Journal of Research into Contemporary Music and Popular Culture (Australia, 1992). In its continuing series, Perfect Beat provides a comprehensive and focused exemplification of approaches to the critical analysis of the musics usually designated as ‘popular’ in the Oceanic region. In short, if we want to know what’s going on in Australian popular music studies, this journal is a good place to start

Knocking on the door: Examining the practice of classical singers at a performing arts institution

Practice is a major part of the everyday existence of musicians at a performing arts institution, and is of particular importance for singers, who are not just learning to sing but also building their vocal instrument along the way. The purpose of this study was to examine the practice of classical singers studying at a performing arts institution, through an interpretive case study approach. Participants completed a multi-part survey which asked logistics of their singing practice, their use of practice strategies, how these strategies were acquired, and the influence of various factors related to practice. The quantitative and qualitative data were analysed together with reference to a conceptual framework of self-regulated learning. The study found that singers’ practice was affected by a wide range of factors, and many strategies to improve singing were employed both within and beyond the practice room. The study also found that singing lessons were a major resource for singers to learn skills to develop into well self-regulated musicians

Reinvention in the Line of Death: A Reconsideration of Geoffrey Hill\u27s Commemorative Verse

This paper considers the embodied ethics of Geoffrey Hill’s poetic practice. Hill stages his engagement with poetry through the idioms, images, tropes, and diction of the literary tradition. Through this pragmatic rehearsal of the language of the dead, Hill’s poetry projects the tradition into the present. Hill resists the ethical entrapments of appropriative poetry through his insistence upon the brute physicality of atrocity and through a rigorous (for both poet and reader) formal difficulty. Hill’s practice refuses to console after the models of Peter Sacks, Jahan Ramazani, or John Vickery. Instead, concerned with modernity’s disconnectedness, Hill’s poetry returns us to the presence of the dead, to their ritual and language. Alternatively, because Hill’s subjects are historical atrocities, rather than natural occurrences, the sort of communal consolation that the elegy traditionally offered would be inappropriate to Hill’s concerns. These atrocities are, most frequently, instances of human violence (the Holocaust, the Battle of Towton, the Wars of the Roses, etc.) and, for this reason, they do not lend themselves to the consolations of natural cycles of death and rebirth. Since they were often committed in the name of religion, Christian transcendence is similarly questionable, as are other consolatory transcendences. These conventional modes of consolation being denied, Hill’s poetry reconnects us with the dead through the formal devices and techniques of the historical institution of poetry. Through the rigorous engagement with and sacrificial making of poetry, Hill attempts to redeem tradition and history for the present

From War Pigs to Unsung Heroes: The Criticism and Justification of War in Metal Lyrics

Tässä tutkimuksessa käsitellään heavy metal -kappaleiden sanoitusten sisältöä. Tutkimusmateriaaliin on valittu yksi teema, sota, jonka avulla avataan sanoitusten sisältöä ja merkitystä. Metallimusiikki alakulttuurina on tyylillisesti ja temaattisesti spesifi, ja sillä on omat musiikilliset tavoitteensa. Tässä tutkimuksessa tarkastellaan erityisesti sitä miten sotaa kritisoidaan tai perustellaan heavy rock -sanoituksissa. Tutkimusmateriaalini koostuu 29 englanninkielisen kappaleen sanoituksesta vuosilta 1970–2012. Edustettuina on useita ajanjaksoja sekä maita. Yhdistävänä tekijänä on englannin kielen lisäksi se, että kaikki sanoitukset käsittelevät modernia länsimaista sodankäyntiä. Tekstit valittiin sen perusteella, että niissä ilmeni positiivinen tai negatiivinen näkökulma sotaan. Tutkimus nojaa Theo van Leeuwenin legitimaatioteoriaan, joka puolestaan pohjautuu diskurssianalyysiin. Legitimaatioteoria käsittää neljä strategiaa, jotka voivat joko kritisoida tai perustella sosiaalisia käytänteitä. Ne ovat auktoriteetteihin vetoaminen, moraalinen arviointi, järkeistäminen ja mytopoeesi. Yksi tavoitteistani tutkimuksessani on selvittää legitimaatioteorian toimivuutta omassa materiaalissani. Käytän metodina lähilukua, joka mahdollistaa niiden sanojen ja ilmaisujen identifioimisen, jotka ovat näkökulmaltaan joko positiivisesti tai negatiivisesti sotaan suhtautuvia. Analyysini kannalta tärkeitä ovat sekä kieli- että kulttuurikonteksti, sillä ne määrittelevät sanojen merkityksen. Analyysin perusteella kävi ilmi, että esimerkit jakautuivat eri strategioiden välille hyvin epätasaisesti. Auktoriteetteihin vetoamisen strategiasta löytyi vain yksi esimerkki, kun taas moraalisen arvioinnin esimerkkejä oli neljätoista. Lisäksi kaikkia legitimaatioteorian alaryhmiä ei löytynyt materiaalista ollenkaan. Osalla alaryhmistä oli useita esiintymiä, mutta osalla vain yksi. Esimerkkien epätasaista jakautumista selittää mm. se, että tutkimuksen materiaalin kannalta kaikki alakategoriat eivät ole relevantteja. Jotta tutkimustuloksista saataisiin edustavampi, laajempi otanta olisi tarpeen. Legitimaatioteorian soveltuvuutta sanoituksien yhteydessä tulisi tutkia laajemmin.Siirretty Doriast