INDEX
Abhinavagupta, Shaivite, 124
aborigines, 35, 111, 118, 165, 194n39, 195–96n52, 212n136
accelerando, 29
acoustics, 37, 41, 51; and consonance, 38
Adepoju, Demola, 184n20
The Aesthetics of Music (Scruton), 4
Africa, 127, 176; African music, 58, 74
African Americans, 176–77
Age of Discovery, 5
Albert, Martin, 91
Alexander the Great, 29
All Things Considered (radio program), 173
amusia, 78
Andaman Islanders, 165
animal music, 17–19, 21, 23, 25–27, 30, 33–34, 186–87n9, 191n84; and mating rituals, 31; and musical scales, 29; and rhythm, 28–29
anthropology, 22
apartheid, 184n20
aphasia, 78
Aristotle, 17–18, 28, 121, 128, 213n8; and common sensibles, 108
Arizona, 165
arousal theory, 128–29, 131, 134–35
art, 19
Artusi, Giovanni, 217n18
“Ascension” (song), 178, 227n13
Asia, 149
atonal music, 5
attunement, 152–53
Austin, J. L., 92; speech acts, behabitive class of, 98
Australia, 111
autosegmental theory of intonation, 84
Azerbaijan, 35
Bach, Johann Sebastian, 35–36, 45, 167
Bach, C. P. E., 124
Bach’s Cello Suites, 5
Bali, 114–15; Balinese music, 60, 68, 72, 75
Balkwill, Laura-Lee, 139–40
Banerjee, Pandit Nikhil, 5
Banse, Rainer, 89
Barenboim, Daniel, 12
Barrington, Daines, 189n33
Barthes, Roland, 94
Basongye tribe, 127
Batteux, Charles, 2
Beardsley, Monroe, 164
Beattie, James, 122
Becker, Judith, 4, 115–16, 142, 151–52, 155, 157, 215n41, 215n42, 216n14, 226n55
Beethoven, 35–36, 90, 119, 185n31
Benamou, Marc, 140–41
Benzon, William L., 213n11
Berkowitz, Norman, 201n43
Berliner, Paul, 136
Bernstein, Leonard, 93, 97, 100, 209–10n85, 212n114
Berry, Chuck, 35
Besson, Mireille, 207n48
Beyond the Pleasure Principle (Freud), 154
bhajans, 155–56
birdsong, 18, 24–26, 29, 31–32, 35, 188n20; and mantra, 100
Blacking, John, 17, 19, 21–23, 37, 100, 176, 186–87n9, 187n10
Blood, Anne, 143
blues, 35
Boernstein, W. S., 112, 214n31
Book of Songs (The Shih Jing), 119, 123
Boulanger, Richard C., 194n37
Bowlby, John, 197n67
Boyoyo Boys, 184n20
Brandily, Monique, 196n59
Brendel, Alfred, 161
Bridge over Troubled Waters (Simon and Garfunkel), 184n20
Bright, William, 90
Budd, Malcolm, 211n113
Buddhism, 149–50
Bulgaria, 35
Burke, Deborah, 86
Burns, Edward M., 46, 195–96n52
Bushmen, 62
Cabaret (film), 169
Cajuns, 99
Canada, 140
cantometrics, 62, 201n43; and chi-square test, 63
Cantrick, Robert, 187n12
cantus firmus, 159
Cantus Quercus Press, 227n5
Carterette, 210n101
Carter, Jimmy, 192n89
Casablanca (film), 99
Castle, Louis-Bertrand, 213n8
categorical perception, 81, 83–84
Chad, 196n59
Chang, Hsing Wu, 44
Chao, Y. R., 41
Cher, 180
Chernoff, John, 58
Child, Peter, 210n89
China, 35, 123–24, 127; Chinese language, 207n41; Chinese music, 5
Chomsky, Noam, 93
Chou Tun-I (Zhou Dunyi), 127
chromatic scale, 46
Chuang Tzu, 78
circle of fifths, 40
Clapton, Eric, 145
Clarke, Eric, 185n30
Clement of Alexandria, 25
clicks, 81
climbing pitch, 29
Clynes, Manfred, 197n67, 215n38; and sentic states, 114
Cochin (China), 6
cognitive mapping, 116
Cole, Natalie, 167
Commentary on Luria’s Songs (Sarug), 165
Congreve, William, 119
consensus theory, 84
consonance, 21, 39, 45–46, 143; and acoustics, 38; as context dependent, 38; and relaxation, 50
Cook, Nicholas, 68, 195–96n52, 202n57, 211n110
Cooke, Deryck, 119
counterpoint, 4
crescendo, 29
Critchley, MacDonald, 214n26
Cross, Ian, 100
culture, 15
Damasio, Antonio, 133
Damon of Athens, 128
Danto, Arthur, 188n13
“Dark Was the Night” (song), 35
Darwin, Charles, 3, 25–29, 95, 132
Darwin, Francis, 26
Davidson, R. J., 132
Davies, Stephen, 41, 57, 68–69, 74, 76, 107, 118, 125, 135, 184n21, 185n31, 189n24, 190n53, 195–96n52, 201n31, 202–3n60, 204n86, 211n113, 212–13n141, 218n49, 221n102, 224n18; and Doggy Theory, 218n48
Derrida, Jacques, 205n15
The Descent of Man (Darwin), 95
Deutsch, Diana, 194n37, 198n75
Dewey, John, 130
DeWoskin, Kenneth, 218n40, 222n122
dhamar, 70
Dibben, Nicola, 211n110
didgeridoo, 69
discrete scale pitches, 81, 84–85
dissonance, 21, 38–39, 44–45, 143, 198n82; and tension, 50
dodecaphonic music, 6–7
dogs, 28
Donald, Merlin, 214n22
Donan, Raia, 5
Dowling, W. Jay, 33, 38–39, 47, 84, 87, 159, 166, 184n18, 194n39, 195–96n52, 197n67, 198n77, 200n7, 206n38, 225–26n53
Drake, Sir Francis, 5–6
Drayush, Safvat, 216n6
Dukas, Paul, 6
early music, 178
East Asians, 175
Ebb, Fred, 227n2
Edelman, Gerald, 115–16
Eilers, Rebecca, 69–70
Ekman, Paul, 220n87; basic vs. nonbasic emotions, 132
ektal, 70
“El Condor Pasa” (song), 184n20
Ellis, Catherine J., 194n39
emotion: acoustic cues of, 139; mirroring of, 135–36; vs. mood, 131–33; and music, 2, 10–12, 121–24, 126–36, 139, 141–42, 217n26, 218n40, 222–23n123; as performancespecific, 141; and prosody, 139; security, reinforcing feelings of, 12
emotional arousal: and happiness, 142
emotional contagion, 173, 221n102
emotional regulation, 219n60
entrainment, 52, 146, 169, 199n91; and hearing, 151; and infants, 152
equal temperament, 39, 41, 193n17, 193n18. See also tempered tuning
Ernoff, Ron, 99
essentialism, 13
Ethiopia, 91
ethnicity: and sectarianism, 170
ethos theory, 128
Europe, 3
European Union, 65
European vocal styles, 61
Eva Man (Man Kit-Wah), 207n47
evolutionary theory, 25
Exposition Universelle, 6
expression theory, 123–24, 134–35
Fahrenheit 9/11 (film), 169
Fantasia (film), 107
Feld, Steven, 24, 63–64, 72, 103, 118, 120, 199n87, 207–8n52; and interpretive moves, 117
Fernald, Anne, 89
“Fire, Water, Burn” (song), 226n1
flash, 156
flash mob, 171, 175, 179, 227n4; emotional contagion, 173; as large-scale cooperation, 174; as participatory event, 172; physical impact of, 173; and social bonding, 173; as voluntary, 174
folk song, 62
foreign music, 3, 139, 148, 170, 175–76, 178; appreciation of, 64; challenge of, 68, 73; and children, 177; difficulty with, 69–73; enculturated cues v. perceptual cues, 140; familiarity, developing with, 74–76; and mismatch negativity, 71; new schemata, developing of for, 73–74; and ornamentation, 72; and otherness, 70; and recordings, 180; understanding of, 69
Forster, E. M., 72–73
frameworks of discrete pitches, 46
Francès, Robert, 199n85
Freeman, Walter, 31
Freud, Sigmund, 154
Frick, Robert W., 206n24
Frijda, Nico H., 220n90
Gabrielsson, Alf, 138, 144, 220n83
Garson, James, 5
General M. D. Shirinda and the Gaza Sisters, 184n20
A Generative Theory of Tonal Music (Lerdahl and Jackendoff), 93, 212n117
Georgia, 35
Gestalt principles, 47–49, 81, 86, 93–94, 163, 197n71, 200n7
Gjerdingen, Robert, 73
Glennie, Evelyn, 185n31
Goehr, Lydia, 19
Goldberg, Morris, 184n20
Goldie, Peter, 220n86
Gordon, Graham, 26
Gracyk, Theodore, 225n35, 225n44
Greece, 71
“Greensleeves” (song), 122
Gregory, Stanford, 86, 102, 215n45
Griffiths, Paul, 188n14
group identification, 170, 173
“Half-Breed” (song), 180
Hamilton, John, 97
Hamlet, 182
Hanslick, Eduard, 2, 27–28, 78, 122–24, 134, 140, 190n51, 223n129; on absolute music, 217n23
hardingfele (fiddle) music, 71
harmonic dissonances, 50
Harnish, David, 75
Harrán, Don, 196n61
Hartshorne, Charles, 24, 30, 108
Harwood, Dane, 33, 38–39, 43–44, 47, 57–58, 76, 84, 87, 159, 166, 184n18, 194n39, 195–96n52, 197n67, 198n77, 200n7, 206n38, 225–26n53
hearing: physiology of, 150–52, 168; and rhythmic entrainment, 151
“The Hebrides” (Mendelssohn), 117
Hegel, 96
Heine, Heinrich, 124
Helm, Nancy, 91
Helson, Harry, 38–39
Henderson, David, 155
Henry VIII, 122
Herder, J. G., 124
Herndon, Marcia, 156
Hevner, Kate, 217n26
high fidelity music, 67
Hindustani music, 58, 72, 120, 130, 140, 155, 184–85n24
Hodges, Donald, 30–31
Hoffmann, E. T. A., 2, 96, 211n110
Hong Kong, 1
Hood, Mantle, 42
Hornbostel, Erich von: amodal sensory qualities, 112
Howlin’ Wolf, 24
How the Mind Works (Pinker), 94
How Musical Is Man? (Blacking), 37, 176
Hullah, John Pyke, 3
Hulse, Sir Edward, 55
Hulse, Steward, 194n37
human beings: and creativity, 32; and meaningfulness, 34; as musical, 20, 23–25
human pitch perception, 81
human psychology, 47–48
Hume, David, 173
Huron, David, 49, 57, 70, 73, 75, 192n10, 197–98n74, 202n48
Hurricane Jean, 123
Husain, Gabriela, 133, 143, 223n125
Huttenlocher, Janellen, 86
Ibn Sina, 28, 121, 128, 162, 219n69
idiopathic synesthesia, 112–13, 213n2; and colored hearing, 107
idiophones, 202n59
“Imagine” (song), 65–66
Imberty, Michel, 200n15
imitation/representation theory, 134–35
India, 35, 71, 90, 111, 127–28, 187n12; Indian music, microtones in, 184–85n24
Individuals (Strawson), 215n35
Indonesia, 76
instrumental music, 25, 91–92, 121–22
instruments: speech patterns, mimicking of, 91
internal of the fifth, 58
intervals, 38–40, 50, 57, 69, 192n7
intonation: and communicative intent, 90
intonational languages, 85
The Invasion of the Body Snatchers (film), 36
Irama, Rhoma, 76
Iraq, 169
Irish music, 72
Islam, 77
Islay, 28
Iversen, John R., 198n78
Jackendoff, Ray, 39, 43, 47, 56, 86, 93–94, 197n71, 198n77, 200n9
Jalsevac, Steve, 174
James, William, 95
Japan, 4, 35, 81–82, 114, 140; Japanese music, 5, 20–21, 130
Java, 6, 35, 69, 226n55; Javanese music, 5–6, 41, 60
jazz, 35, 178; fixed tune in, 159
jhala, 130
Johnson, Blind Willie, 35
jor, 130
Josquin, 36
“Joy to the World,” 45
Jürgens, Uwe, 31
Juslin, Patrik, 30, 82, 131–32, 139–40, 142, 160, 206n24
Kaluli, 111, 120, 127, 189n41, 199n87; and Kaluli music, 24, 72, 214n26
Kander, John, 227n2
Kansas City, 171–74
Kant, Immanuel, 24, 191–92n85, 213n8
Karnatic, 120
Keil, Charles, 141–42, 222n119
Kendall, Roger A., 210n101
Kennick, William, 211n113
Kenya, 29
khali, 70
Kivy, Peter, 9, 125–26, 129, 131, 184–85n24, 220n76; and Doggy Theory, 218n48; and garden-variety emotions, 152
Koelsch, Stefan, 90
Koffka, Kurt, 198n77
Koopman, Constantijn, 118
Kota tribe, 111
krar, 91
Krumhansl, Carol, 69
Kruyt, J. G., 83
Kumalo, Bakithi, 184n20
Kwakiutl tribe, 60–61
Ladysmith Black Mambazo, 7, 184n20
Laing, R. D., 145–46, 149–50, 154
Langer, Susanne K., 96, 124, 129, 217n29, 218n40; music, as logical form, 123
language, 20; and artificial languages, 92; as deficient, 211n113; evolution of, 94; as formal system, 92; and grammar, 87; and infants, 88–89, 205n18, 208n54, 209n68; iterability, as essence of, 205n15; and “motherese,” 88, 208n62, 208n64; and music, 9, 11, 77–81, 83, 91–104, 117, 205n15, 207n48, 210n94, 211n113; musical characteristics of, 87; philosophy of, 102; propositions, conveying of, 102–3; social functions of, 92; and syntax, 93–94; thought, as model for, 79, 102–3. See also speech
Lansky, Paul, 24
larger-integer ratios, 45
Larkin, Philip, 227n13
Laukka, Petri, 30, 82, 139, 142
Law of Prägnanz, 198n77
Leibniz, Gottfried, 47
Lerdahl, Fred, 39, 43, 47, 56, 86, 93–94, 197n71, 198n77, 200n9, 206n36
Levinson, Jerrold, 125, 185n25, 187n11, 188n18, 218n47, 224n17, 224n18; concatenationist view of, 219n56
lexicoding, 32–33
Lidov, David, 80, 91, 103, 206n25, 210n89, 215n38; and solipsism, 227–28n17
The Life of Reason (Santayana), 95
“Lili Marlene” (song), 115
Lippman, Edward, 217n32
listening, 14, 22, 53, 56, 117, 120, 134, 144; as active engagement, 15, 137–38; affective perspective of, 126–27, 129–30; arousal of emotion in, 128–29, 141; and background music, 186n36; connection, sense of, 180; as dynamic activity, 136–37; experience, nuances of, 141; music, identification with, 138; and valence, 143; and vitality affects, 153
Liszt, Franz, 108
literature, and music, 181
liturgical music, 158–59
Lockwood, Rev. S., 26
Lomax, Alan, 61–63, 71, 159, 201n43
London, Justin, 94, 98–99, 199n91
London Philharmonic, 179
Longfellow, Henry Wadsworth, 2
Lorenz, Konrad, 100
Louisiana, 99
“A Love Supreme” (song), 227n13
Lucretius, 25
Lushai, 90
Lynch, Michael, 69–70
lyrics, 180
Mâche, François-Bernard, 29, 59, 201n25
Maconie, Robin, 26–27
Malm, William, 60
Malpas, Jeffrey, 215n35
Mandarin Chinese, 84–85. See also putonghua
Mandler, George, 203n61
mantra: and bird songs, 100
marching songs, 52
Marks, Lawrence, 107–10
Marler, Peter, 32
Maxwell, Marilyn, 200n2
mbira, 202–3n60
McFee, Graham, 96
McGee, Dennis, 99
McLeod, Norma, 156
Mehler, Jacques, 89
“Melancholy Blues” (song), 35
melodic contour, 44, 50, 81–83, 89
melodic dissonances, 50
melodic fission, 45; and centering, 200n9
melody, 51, 58; and continuity, 163; and emotion, 82; and intervals, 57; in unfamiliar foreign music, 54
Mendelssohn, Felix, 96, 211n110
Merker, Björn, 26
Merleau-Ponty, Maurice, 108
Merriam, Alan, 100, 127, 162, 165–66, 219n57
Messiah (Handel), 171
Meyer, Leonard B., 47–49, 57, 129–30, 135, 141–42, 160, 163, 198n77, 202n49, 203n64, 219n55, 224n17
microtones, 184–85n24
Miller, Geoffrey, 25
Miller, George, 46
Missa Solemnis (Beethoven), 119
Molino, Jean, 95
monkeys, 26–28, 190n53, 191n84. See also animal music
mood theory: and emotion, 131–35, 143
Moore, Michael, 169
Morgenbesser, Sydney, 212–13n141
Morton, E. S., 31
movement, 24; and music, 50, 53–54
Mozart, 35
Mtshali, Isaac, 184n20
music: accelerating patterns in, 57; and arithmetic, 47; as artifacts, 57; and associations, 103; and brain structures, 143; and categories, 103, 191n81; centering tone, 57–58; change, effect on, 147; classificatory definitions, 20–21; common humanity, as vehicle for recognizing, 2, 12, 16, 34–35; conservatism of, 158–62, 165, 168; continuity, of time, 162–65, 167–68; cooperation, as facilitator of, 30; creationist debate over, 24; cross-cultural communication, 2, 7, 10–12, 15, 54, 57, 63, 68, 77, 105, 107, 114, 118, 139–41, 144, 155, 174–75, 179; and cross-modal stimulation, 113, 116–18; cultural memory, and transgenerational connection, 167; and deafness, 14, 111, 185n31; as defined, 19–22, 27, 187n10, 187n12, 188n18; of divine origin, 25; ecstatic state, achieving of through, 155–57; and emotion, 2, 10–12, 64, 118–24, 126–36, 139, 141–42, 217n26, 218n40, 222–23n123; emotional communication, across time, 144, 167–68; and empathy, 177, 179; ethical impact of, 10, 127–28; as ethnocentric, 22, 170, 175; and evaluations, 103; evaluative criteria, 67–68; evaluative universals, 59, 75; expression theory, 123–24; and familiarity, 161–62; feelings, arousal of, 132, 211n113; and flash, 156; and flow, 156, 164–65; futurity in, 164; Gestalt principles, 47, 86, 163; goal-directed character of, 130; and goodwill, 55; grammar of, 87, 93, 210n87; and grief, 120, 154; group membership, 117–18, 168; and happiness, 114–15, 116, 142–44, 215n45, 217n27; healing potential of, 12, 30; honorific definitions, 20–21; and human activity, 49–54; and human intentionality, 26; and human superiority, 25–26; as hybridized, 7, 15; imitation theory, 121–23; immediacy of, 181; importance of, 17; individual response to, 15; ineffability of, 96–98; and infants, 197n67, 208n60; and intentionality, 27; internalized templates of, 8; internal repetition in, 57; interpersonal solidarity, promoter of, 30; interpretive moves in, 103–4; kinesthetic involvement of, 112; as language, 9, 11, 77–81, 83, 87, 91–104, 117, 205n15, 207n48, 210n94, 211n113; limbic system, 112–13; listeners’ experiences of, 14; and locations, 103; and mantra, 100; and meaning, 32–34, 53–54, 92, 96–97, 99–100, 104; as mnemonic, 190–91n63; moods, as eliciting, 131–35, 143; and mourning, 139, 216n12; and movement, 50, 53–54, 112; and multi-modal perception, 111; musical universals, 36, 41–43, 65, 75–76; near-universals, 42, 58–59, 120; negative emotions, 154, 155, 224n18; new music, learning of, and sense of identity, 176; and noise, 21; and novelty, 160, 162; object, as requiring, 131–32; olfactory metaphors for, 111, 214n24; as open concept, 19, 22; as participatory, 176; and persona, 125–27; physical movement to, 112–13; physiology of hearing, 150–52, 168; and poetry, 86, 97, 212n115; political roles of, 10, 52; as polysemic, 100–101, 212n136; and prepositions, 79; as presentational, 123; and priming, 90–91; propagandistic roles of, 10; purposes of, 30; recordings of, and kinship, 180–81; and reflections, 103; and relaxation, 58; repetition in, 58, 60, 158–61, 165, 168; and reward systems, 143–44; and rhythmic movements, 112; in ritual, 76; and sadness, 114–15, 116, 133, 143, 154–55, 215n45, 217n27; and sectarianism, 12, 169–70; security, as evoking feelings of, 144–50, 153–58, 162, 167–68, 170, 177, 182; semantics, as lacking, 95–97, 100–101, 214n34; and sense of belonging, 148, 150, 158–59, 170; sense of membership, 165–66; and sense of self, 155–57; as shared experience, 35, 148, 150, 157–58; and signification, 99; as social practice, 15; sociocultural ideals, as reflection of, 61–65; as solipsistic, 227–28n17; and sound, 19–20, 22, 44; and speech, 85, 91, 210n101, 212n118, 212n119; as stimulus, 116; strangers, mutual sympathy among, 170; structural universals of, 56–59; symbolic character of, 76–77; as synchronizing activity, 52; synesthetic associations of, 105–7, 110–11, 114, 116, 118; and syntax, 93–94; and thought, 102–3; transcultural universals vs. pancultural universals, 59; as traversing time, 36; universality of, 10, 13, 18, 65, 117, 124, 146, 148, 182, 209–10n85; as universal language, 1–2, 6–7; as useless, 94–95; as utterances, 57; variety of, and universals, 65; and valence, 142–43; values, expression of, 166; and violence, 169; and visual images, 64; vitality, communication of, 168; vitality affects, 153, 166; women, and sexual mores regarding, 62; and words, 76. See also high fidelity music; participatory music; presentational music; studio audio art
Musical Elaborations (Said), 161
musical instruments, 24
musicality, 13; criteria of, 34; as human trait, 14, 17, 37
Musical Languages (Swain), 101
music-making, 14–15, 22–24, 61, 67, 176, 181; mutuality, feeling of, 179
Muzak, 30
My Fair Lady (film), 104
Narmour, Eugene, 49
National Aeronautics and Space Administration (NASA), 34, 192n87
Native American music, 60; vocal styles of, 61
Nattiez, Jean-Jacques, 94, 193n28, 200n10
N’Dour, Youssou, 184n20
Neo-Futurists, 90
Nepalese music, 155
Nettl, Bruno, 36, 57–59, 195–96n52, 204n87
neuronal group selection theory, 115
neuropsychology, 78
New Caledonia, 65–66
Nietzche, Friedrich, 2, 52, 55, 99, 106, 111, 161–62
Nigerian music, 20
nightingales, 24
Nikkal, 36
Ninth Symphony (Beethoven), 5, 64–65, 172
noble savage myth, 6
Noh theater, 123
noise: and music, 21; and signals, 43–44, 80; and spoken language, 80–81
non-European music: as exotica, 6
nontonal languages, 84. See also tonal languages
non-Western music, 4–5, 8, 74; and tape recorder, 7. See also world music
Nooteboom, S. G., 83
North Indian classical music, 70
“Norwegian Wood” (song), 184n20
Nussbaum, Charles, 51, 53, 112, 176
Nussbaum, Martha, 133
Ochs, Elinor, 208n62
octave equivalence, 44
“Ode to Joy” (song), 64–65, 172, 202n48
Of Grammatology (Derrida), 205n15
Ohgushi, Kengo, 198n78
oli chant, 195–96n52
On the Musically Beautiful (Hanslick), 122
Ontario (Canada), 174
ontological security, 145–46, 148–50, 170; and disturbing emotions, 154; objections to, 153–57
ornamentation, 39, 72–73, 193n15
overtones, 38–39
Palais du Trocadéro, 6
Paley, William, 25
pancultural universals, 75; as evaluative criteria, 59
Panzarella, Robert, 156
Papousek, Hanus, 87
Papua New Guinea, 111, 120, 127
participatory discrepancies, 141–42, 222n121
participatory music, 67–68, 75, 176
A Passage to India (Forster), 72
Patel, Aniruddh, 32–33, 39, 48–49, 51, 73–74, 82, 91, 185n29, 188n20, 191n84, 198n78, 201n31, 204n85, 204–5n8, 218n52, 222n121
Pater, Walter, 144
Pawnee Indians, 165
Payne, Katharine, 32
Peirce, Charles Sanders, 163
pentatonic scales, 39
perception: universal features of, 13
Peretz, Isabelle, 82
performance: and participatory discrepancies, 141–42; and vital drive, 141
periodicity, 206n38
Perlman, Marc, 69
Perrot, David, 73
persona, 125–27, 218n47, 218n49, 218n52
Peru, 35
Perullo, Alex, 202n51
Phiri, Ray, 184n20
phonocoding, 32
phonology, 84
physical tonus: and spatial orientation, 112
physiology of hearing. See hearing
Pima Indians, 165
pitch, 44, 50, 52, 57, 82, 87, 111; categorically, as perceived, 45; and discrete scale pitches, 81, 84–85; and height, 50–51; as hierarchically organized, 46; importance of, 84; and pitch proximity, 45, 48, 54; and pitch reversal, 48, 197–98n74; standardizing of, 85
Plains Indians, 61
playful attention, 137–38
poetry: and music, 86, 97, 212n115
Politics (Aristotle), 18
polyphonic singing: and gender equality, 63
polysemy, 100–101
Pope, Alexander, 158
Powers, Harold S., 216n7
presentational music, 67–68
Presley, Elvis, 112
primitive music, 3
The Principles of Psychology (James), 95
prosody, 82–83, 88, 90, 104, 118; and emotion, 139
putonghua, 84. See also Mandarin Chinese
Pygmy, 62
Pythagoras, 38–39
qin, 5
Qu’ran, 120
Raffman, Diana, 95, 97–98, 100, 214n34, 225n44
ragas, 120, 127, 130, 140, 157, 184–85n24, 200n9, 216n7
rasas, 124, 128, 219n64; and rasa theory, 222n112
The Raw and the Cooked (Lévi-Strauss), 1
recorded music: connection, sense of, 181; and foreign music, 180
recording technology, 7, 65, 166, 185–86n34
Repp, Bruno, 53
rhythm, 47, 51–52, 71, 81, 85–87, 146, 151; and animals, 28–29; and patterns, 58; and tones, 57–58
rhythm and blues, 35
rhythmic entrainment. See entrainment
“The Ride of the Valkyries” (opera), 117
Ridley, Aaron, 126–27, 132, 217n23, 221n99, 224n18
The Rite of Spring (Stravinsky), 39, 192n10
ritual: and music, 76
Robinson, Jenefer, 218n48
rock music, 178, 225n35; as malleable, 66
rock opera, 66
Romantics, 96–97, 101, 123, 211n113
Rorty, Richard, 175
Rosen, Charles, 4
Rossini, Gioachino, 2
Rostropovich, Mstislav, 5
Rowell, Lewis, 120, 165, 216n7
Rubber Soul (Beatles), 184n20
Sachs, Curt, 5, 199n85, 215n40
Saffran, Jenny, 32
Safvate, Dariouche, 156
Sagan, Carl, 35
“Sahabat” (“Friends”) (song), 76
Said, Edward, 161
Salinas, Francisco de, 25, 206n21
Samaritans, 195–96n52
sanjo music, 195–96n52
Santayana, George, 95
Sarug, Israel, 165
scales, 46, 54, 69–70, 195–96n52
Schellenberg, Glenn, 48, 133, 197–98n74
Scherer, Klaus, 89, 190–91n63, 217n26
Schiller, 64–65
Schneider, Albrecht, 203n69
Schön, Daniele, 207n48
Schopenhauer, Arthur, 2, 64–65
Scruton, Roger, 4–5, 27, 35, 96, 183n7, 186n6, 190n49
Seaforth Highlanders, 55
Searle, John, 99
sectarianism: and ethnicity, 170; and music, 169–70
security: as existential, 148; as ontological, 145–46, 148; sense of belonging, 148
Seeger, Anthony, 127
Seeger, Charles, 91
self, 224n24
semantics, 95–97, 100–101, 214n34
semiotics, 94
semitones, 39–40, 57, 192–93n14
Senegal, 35
sentic states: and output modalities, 114
serial music, 7
Shaheen, Simon, 82
Shakespeare, William, 17
shakuhachi music, 195–96n52
Shaw, Gordon L., 28
Shieffelin, Bambi B., 208
Shonagon, Sei, 181
signals: and noise, 80
signification, 99
“Silent Night” (song), 56
Silent Night: The Story of the World War I Christmas Truce (Weintraub), 55
Simon and Garfunkel, 184n20
Singer, Alice, 200–201n18
Slater, Peter J. B., 26, 29, 31
“Sleeping Beauty,” 161
Sloboda, John, 31, 47, 52, 83, 131–32, 160, 195n46
small-integer ratios, 45
Socrates, 121
Solomon Islands, 35
Solomon, Robert C., 133, 220n86, 221n99
song: speech contours, difference between, 82
The Sorcerer’s Apprentice (Dukas), 6
sound: meaning, assignment of to, 32; and music, 19–20, 22, 44; and spatial position, 51
South Africa, 184n20
Spain, 62
Sparks, Robert, 91
spatiality, 107
speech, 207n41, 207–8n52, 211n113; acoustic potentials of, 101–2; and combinatorial syntax, 87; and music, 85, 91, 210n101, 212n118, 212n119; open-slot formulas in, 85, 207n49. See also language
Staal, Frits, 100
“The Star Spangled Banner” (song), 48
Stern, Daniel, 213–14n20, 215n36, 223n8; and activation contour, 110; and attunement, 152–53; and categorical affects, 152; infants, and vitality affects, 110–11
Stimela, 184n20
Stokes, Martin, 170
Stoquerus, Gaspar, 25
Strawson, P. F., 215n35
studio audio art, 67
Suyá people, 127
Swain, Joseph P., 80, 87, 101–2, 208n57, 212n118
swing: and vital drive, 141
syllables: duration of, as uneven, 81, 85
Symphony (Shankar), 179
synchrony, 86
synesthesia, 11, 106–7, 114, 116, 118; and children, 109; and cross-modal experience, 108–10; as familiar, 108–9; and hippocampus, 112–13; and thinking, 214n31
syntax, 82–83, 208n57; as combinatorial, 87
talas, 226n56
tala tintal, 70
Tanzanian hip-hop, 202n51
tape recorder: and non-Western music, 7
Tau Ea Matsekha, 184n20
Teletubbies (television program), 88, 208n64
tempered tuning, 39–41. See also equal temperament
tempo keeping, 47
temporal intervals, 47
temporal patterns, 46
Tenth Symphony (Mahler), 138, 144
Thom, Paul: and playful attention, 137–38
Thompson, William, 133, 139–40
tihai phenomenon, 58
Titanic (film), 135
Tolstoy, Leo, 98–99
Tommy (The Who), 66
“Tomorrow Belongs to Me” (song), 169
tonality, 4–5, 183–84n10; as term, 183n4
tonal languages, 84–85, 218n36. See also nontonal languages
tonal music, 4–5, 33, 93–94, 183n4, 194n37; as universal goal, 3
Too Much Light Makes the Baby Go Blind, 90, 209n73
Torah chant, 200n9
traditional musical cultures, 66
traditional non-Western music, 8
Trainor, Laurel J., 74, 204n82
trance experiences, 115, 155, 157, 215n41
transcultural universals, 60, 75; as stimulus properties, 59
Trehub, Sandra, 36, 44, 74, 88, 204n82, 221n110
Tuamotus people, 127
Turino, Thomas, 67–68, 75, 100, 158–60, 172–73, 202–3n60
The Unanswered Question (Bernstein), 93
uneven step size, 46
United States, 20, 67, 71, 114, 145, 176
universality: as term, 10
valence, 142–43
van Damme, Wilfried, 59–60, 64
Varèse, Edgar, 186–87n9
Varro, Marcus Terentius, 190n51
Västfjäll, Daniel, 131
Venda people, 176
Vincentino, Nicola, 217n27
vital drive, 141, 222n119, 222n121
vitality affects, 166, 223n8; as amodal, 152, 213–14n20; and infants, 114; and sense of being, 153
vocal music, 25; and cultural differences, 60–61
voice: tone of, 82
von Hippel, Paul, 75, 197–98n74
von Hornbostel, E. M., 111
Waldheim, Kurt, 192n89
Walton, Susan Pratt, 201n31
War and Peace (Tolstoy), 98–99
Warren, Richard M., 83
Warren, Roslyn P., 83
Weintraub, Stanley, 55
“We Shall Overcome” (song), 176
Western music, 8, 22, 39–41, 46, 51, 60–61, 69, 73–74, 111, 114–15, 124, 130, 155, 175, 184–85n24, 201n20, 215n40; and “law of three,” 58; and neumes, 47; and recording technology, 65; structural diversity within, 4; superiority of, 4
Western philosophy, 10; and non-Western music, 9
whale song, 24, 31–32, 35, 188n20
Whaling, Carol, 26
Wheeler, R. H., 214n31
Widdess, Richard, 216n7
Wilson, W. R., 160
Wishart, Trevor, 24
Wittgenstein, Ludwig, 78, 92, 124
“Wooden Ships” (song), 226n64
work songs, 52
world music, 5, 8, 65–66. See also non-Western music
World Trade Center, 132
world traveling, 203n74
Yothu Yindi, 2
Yunupingu, Mandawuy, 2
Zaire, 35
Zajonc, Robert, 160–61
Zatorre, Robert, 143
Zentner, Marcel, 190–91n63, 217n26
Zhu Zaiyu, 193n17
Zuckerkandl, Victor, 163–64
Zulu, 81