Hearing the Tonality in Microtonality

In the late 1970s and 1980s, composer-pianist Easley Blackwood wrote a series of microtonal compositions exploring the tonal and modal behavior of a dozen non–twelve-tone equal temperaments, ranging from 13 to 24 tones per octave. This dissertation investigates a central paradox of Blackwood’s microtonal music: that despite being full of intervals most Western listeners have never heard before, it still seems to “make sense” in nontrivial ways. Much of this has to do with the music’s idiosyncratic approach to tonality, which I define as a regime of culturally conditioned expectations that guides one’s attentional processing of music’s gravitational qualities over time. More specifically, Blackwood configures each tuning’s unfamiliar elements in ways that correspond to certain schematic expectations Western listeners tend to have about how tonal music “works.” This is why it is still possible to hear the forest of tonality in this music, so to speak, despite the odd-sounding trees that comprise it. Because of its paradoxical blend of expectational conformance and expectational noncompliance, Blackwood’s microtonal music makes for a useful tool to snap most Western-enculturated listeners out of their ingrained modes of musical processing and reveal certain things about tonality that are often taken for granted. Accordingly, just as Blackwood writes conventional-sounding music in unconventional tunings, this dissertation rethinks several familiar music-theoretic terms and concepts through the defamiliarizing lens of microtonality. I use Blackwood’s microtonal music as a prism to shine a light on traditional theories of tonality, scale degrees, consonance and dissonance, and harmonic function, arguing that many of these theories rely on assumptions that are tacitly tied to twelve-tone equal temperament and common-practice major/minor music. By unhooking these terms and concepts from any one specific tuning or historical period, I build up a set of analytical tools that can allow one to engage more productively with the many modalities of tonality typically heard on a daily basis today. This dissertation proceeds in six chapters. The four interior chapters each center on one of the terms and concepts mentioned above: scale degrees (Chapter 2), consonance and dissonance (Chapter 3), harmonic function (Chapter 4), and tonality (Chapter 5). In Chapter 2, I propose a system for labeling scale degrees that can provide more nuance and flexibility when reckoning with music in any diatonic mode (and in any tuning). In Chapter 3, I advance an account of consonance and dissonance as expectational phenomena (rather than purely psychoacoustic ones), and I consider the ways that non-pitched elements such as meter and notation can act as “consonating” and/or “dissonating” forces. In Chapter 4, I characterize harmonic function as arising from the interaction of generic scalar position and metrical position, and I devise a system for labeling harmonic functions that is better attuned to affective differences across the diatonic modes. In Chapter 5, I synthesize these building blocks into a conception of fuzzy heptatonic diatonic tonality that links together not only all of Blackwood’s microtonal compositions but also more familiar musics that use a twelve-tone octave, from Euroclassical to popular styles. The outer chapters are less explicitly music-analytical in focus. Chapter 1 introduces readers to Blackwood’s compositional approach and notational system, considers the question of his intended audience, and discusses the ways that enculturation mediates the cognition of microtonality (and of unfamiliar music more generally). Chapter 6 draws upon archival documents to paint a more detailed picture of who Blackwood was as a person and how his idiosyncratic worldview colors his approach to composition, scholarship, and interpersonal interaction. While my nominal focus in these six chapters is Blackwood’s microtonal music, the repertorial purview of my project is far broader. One of my guiding claims throughout is that attending more closely to the paradoxes and contradictions of Blackwood’s microtonality can help one better understand the musics they are accustomed to hearing. For this reason, I frequently compare moments in Blackwood’s microtonal music to ones in more familiar styles to highlight unexpected analogies and point up common concerns. Sharing space with Blackwood in the pages that follow are Anita Baker, Ornette Coleman, Claude Debussy, and Richard Rodgers, among others—not to mention music from Curb Your Enthusiasm, Fortnite, Sesame Street, and Star Wars. Ultimately, this project is a testament to the value of stepping outside of one’s musical comfort zone. For not only can this reveal certain things about that comfort zone that would not be apparent otherwise, but it can also help one think with greater nuance, precision, and (self-)awareness when “stepping back in” to reflect upon the music they know and love

Edmund Husserl between Platonism and Aristotelianism

The volume contains the first collection of essays delaying with the relations between, on the one hand, Husserl's philosophy, and, on the other, the traditions of Platonism and Aristotelianism

CLADAG 2021 BOOK OF ABSTRACTS AND SHORT PAPERS

The book collects the short papers presented at the 13th Scientific Meeting of the Classification and Data Analysis Group (CLADAG) of the Italian Statistical Society (SIS). The meeting has been organized by the Department of Statistics, Computer Science and Applications of the University of Florence, under the auspices of the Italian Statistical Society and the International Federation of Classification Societies (IFCS). CLADAG is a member of the IFCS, a federation of national, regional, and linguistically-based classification societies. It is a non-profit, non-political scientific organization, whose aims are to further classification research

The Role of Inversion in the Genesis, Development and the Structure of Scientific Knowledge

The main thrust of the argument of this thesis is to show the possibility of articulating a method of construction or of synthesis--as against the most common method of analysis or division--which has always been (so we shall argue) a necessary component of scientific theorization. This method will be shown to be based on a fundamental synthetic logical relation of thought, that we shall call inversion--to be understood as a species of logical opposition, and as one of the basic monadic logical operators. Thus the major objective of this thesis is to This thesis can be viewed as a response to Larry Laudan's challenge, which is based on the claim that ``the case has yet to be made that the rules governing the techniques whereby theories are invented (if any such rules there be) are the sorts of things that philosophers should claim any interest in or competence at.'' The challenge itself would be to show that the logic of discovery (if at all formulatable) performs the epistemological role of the justification of scientific theories. We propose to meet this challenge head on: a) by suggesting precisely how such a logic would be formulated; b) by demonstrating its epistemological relevance (in the context of justification) and c) by showing that a) and b) can be carried out without sacrificing the fallibilist view of scientific knowledge. OBJECTIVES: We have set three successive objectives: one general, one specific, and one sub-specific, each one related to the other in that very order. (A) The general objective is to indicate the clear possibility of renovating the traditional analytico-synthetic epistemology. By realizing this objective, we attempt to widen the scope of scientific reason or rationality, which for some time now has perniciously been dominated by pure analytic reason alone. In order to achieve this end we need to show specifically that there exists the possibility of articulating a synthetic (constructive) logic/reason, which has been considered by most mainstream thinkers either as not articulatable, or simply non-existent. (B) The second (specific) task is to respond to the challenge of Larry Laudan by demonstrating the possibility of an epistemologically significant generativism. In this context we will argue that this generativism, which is our suggested alternative, and the simplified structuralist and semantic view of scientific theories, mutually reinforce each other to form a single coherent foundation for the renovated analytico-synthetic methodological framework. (C) The third (sub-specific) objective, accordingly, is to show the possibility of articulating a synthetic logic that could guide us in understanding the process of theorization. This is realized by proposing the foundations for developing a logic of inversion, which represents the pattern of synthetic reason in the process of constructing scientific definitions

"What can be infinitely destroyed is what can infinitely survive" :literary and filmic representations of political torture from Algiers to Guantánamo

PhD ThesisThis thesis takes the post-9/11 Anglo-American torture debate as the territory for its analysis of the multiple and overlapping ways that cultural representations are implicated in political discourses regarding the practice of political torture by Western liberal democracies in the twenty-first century. Firstly, it makes the historical-political claim that the post-9/11 torture debate reveals the continuing existence and influence not only of colonial discourses and representations but of colonial political constellations and colonial forms of violence. Drawing on Giorgio Agamben’s work on the state of exception, I argue that despite claims of the newness of the post-Cold War geopolitical paradigm, political torture in the twenty-first century takes familiar concentrationary and disciplinary forms. Further, specific colonial discourses continue to frame contemporary debates about political torture; using the Algerian War of Independence as a lens, the thesis demonstrates this continuity through original readings of The Centurions (1960), The Battle of Algiers (1966), and The Little Soldier (1960/63). The dominant way that torture has been discussed in the context of the post-9/11 Global War on Terrorism is in terms that justify or normalise it. This thesis reads the revitalisation of colonial discourses in the second series of 24 (2002-3) as evidence of this. Further, it argues that anti-torture human rights texts such as Rendition (2007) have provided inadequate resistance to justificatory discourse. Nonetheless, narratives that successfully oppose political torture are possible, and this thesis sketches the beginnings of a canon of them: drawing on the phenomenological ethics of Emmanuel Levinas to perform readings of representations of Abu Ghraib – Standard Operating Procedure (2008) – and Guantánamo Bay – The Road to Guantánamo (2006), Guantánamo: Honor Bound to Defend Freedom (2004) and Guantánamo (2004) – the project explores the ways that ethical address, testimony, and an activist focus on facts can produce meaningfully resistant anti-torture narratives.Arts and Humanities Research Counci

The Computational Attitude in Music Theory

Music studies’s turn to computation during the twentieth century has engendered particular habits of thought about music, habits that remain in operation long after the music scholar has stepped away from the computer. The computational attitude is a way of thinking about music that is learned at the computer but can be applied away from it. It may be manifest in actual computer use, or in invocations of computationalism, a theory of mind whose influence on twentieth-century music theory is palpable. It may also be manifest in more informal discussions about music, which make liberal use of computational metaphors. In Chapter 1, I describe this attitude, the stakes for considering the computer as one of its instruments, and the kinds of historical sources and methodologies we might draw on to chart its ascendance. The remainder of this dissertation considers distinct and varied cases from the mid-twentieth century in which computers or computationalist musical ideas were used to pursue new musical objects, to quantify and classify musical scores as data, and to instantiate a generally music-structuralist mode of analysis. I present an account of the decades-long effort to prepare an exhaustive and accurate catalog of the all-interval twelve-tone series (Chapter 2). This problem was first posed in the 1920s but was not solved until 1959, when the composer Hanns Jelinek collaborated with the computer engineer Heinz Zemanek to jointly develop and run a computer program. Recognizing the transformation wrought on modern statistics and communications technology by information theory, I revisit Abraham Moles’s book Information Theory and Esthetic Perception (orig. 1958) and use its vocabulary to contextualize contemporary information-theoretic work on music that various evokes the computational mind by John. R. Pierce and Mary Shannon, Wilhelm Fucks, and Henry Quastler (Chapter 3). I conclude with a detailed look into a score-segmentation algorithm of the influential American music theorist Allen Forte (Chapter 4). Forte was a skilled programmer who spent several years at MIT in the 1960s, with cutting-edge computers and the company of first-rank figures in the nascent fields of computer science and artificial intelligence. Each one of the researchers whose work is treated in these case studies—at some stage in their relationship with music—adopted what I call the computational attitude to music, to varying degrees and for diverse ends. Of the many questions this dissertation seeks to answer: what was gained by adopting such an attitude? What was lost? Having understood these past explorations of the computational attitude to music, we are better suited ask of ourselves the same questions today

Central and Eastern European Literary Theory and the West

The twentieth century saw intensive intellectual exchange between Eastern and Central Europe and the West. Yet political and linguistic obstacles meant that many important trends in East and Central European thought and knowledge hardly registered in Western Europe and the US. This book uncovers the hidden westward movements of Eastern European literary theory and its influence on Western scholarship

Central and Eastern European Literary Theory and the West

The twentieth century saw intensive intellectual exchange between Eastern and Central Europe and the West. Yet political and linguistic obstacles meant that many important trends in East and Central European thought and knowledge hardly registered in Western Europe and the US. This book uncovers the hidden westward movements of Eastern European literary theory and its influence on Western scholarship