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Academic interest in well-being has blossomed, to the point that numerous forms of well-being have been proposed, covering myriad aspects of the person (e.g. mental, physical, social, spiritual) and of life more broadly (e.g. communal, economic, environmental). This proliferation of forms raises the question of how they might ideally interrelate, and whether there is some kind of overall well-being that draws them together. To that end, this paper argues that a zenith of ultimate or complete well-being would involve managing to sustain well-being across numerous systems (i.e. configurations of different processes and entities), such that they are in balance and harmony. These systems include: (a) the various dimensions of the person; (b) self-and-other (c) people-and-environment; and (d) time. We suggest that attaining all these various forms of sustainable well-being constitutes an ideal of flourishing to which people and societies can and should aspire. [ABSTRACT FROM AUTHOR]

Frédéric Chopin (1810-1849), one of the composers who reflected and created the spirit of the 'Romantic Period,' characterized by increased diversity in style, form, and expression, and the expansion of piano literature, crafted the musical texture in his pieces with a highly personal style, incorporating his unique harmony, flexible formal design, original use of expressive tools, and a free performance technique that didn't adhere to rigid patterns in rhythm and tempo. Chopin's distinctive style is particularly visible in the forms he chose for piano music. The flexible forms of his time allowed the composer to create a characteristic style by freely utilizing musical materials. Especially, forms like nocturnes, fantaisies-impromptus, and waltzes, which leave an impression of improvisation, small-scale, and rule-free structures, provided a clear space for the composer's expressive tools. Indeed, it is possible to identify Chopin's musical language, especially through his small-scale pieces. The purpose of this research is to analyze the melody construction, harmony, and rhythms of Frédéric Chopin (1810-1849), focusing on selected pieces to provide an interpretation of his musical language based on similarities found in these pieces. Samples from Chopin's literature, including Op. 27 No. 1, Op. 9 No. 2 and No. 20 Nocturnes, Op. 64 No. 2 Waltz, and Op. 66 Fantaisie-Impromptu, were taken for the study. The research employed a case study design within qualitative research methods, and the obtained data was described descriptively. In conclusion, it was found that Chopin's harmony encompasses a wide range from simple chord progressions to complex chords. He created simple yet bel canto melodies inspired by the 'Italian Opera' embellishments and used rhythms that prioritize the clarity of melody rather than a polyrhythmic approach. This study is believed to contribute to listening and playing practices due to its exploration of the musical materials in the Turkish literature related to Chopin. [ABSTRACT FROM AUTHOR]

Western philosophy has established its major frameworks on conceptual pillars that allow the integration of the pure self into the values of truth and justice, while simultaneously trapping the ‘other’ in the quagmire of savagery and racism. This cycle, burdened with evil, has reached a level of moral exposure where even the poles of the Frankfurt School view the genocide being committed against the Palestinian people as a just and legitimate war. Faced with this tragedy, the departure of philosophy has become necessary in search of a geography that rebuilds the world according to fair universal values free from Western evil. Could the initiative taken by South Africa before the International Court of Justice for the sovereignty of universal justice be considered a signal falling within the framework of receiving philosophy over African lands?. [ABSTRACT FROM AUTHOR]

This paper delves into the convergence of Laozi's Daoist mysticism with the principles of ecofeminism, highlighting the potential for ancient wisdom to inform contemporary issues of gender and environmental justice. Through an examination of the Dao De Jing, we uncover insights into a holistic approach to social justice that integrates ecological sustainability and gender equality. Laozi's teachings, characterized by the principles of Dao, Wu-wei, and Ziran, offer a foundational framework for understanding the interconnectedness of all beings and the importance of living in harmony with the natural world. By analyzing relevant passages and concepts from the Dao De Jing, this paper demonstrates how Daoist philosophy aligns with and enriches ecofeminist values, advocating for a society that honors the balance between humanity and nature and recognizes the integral role of women in achieving environmental and social harmony. This paper presents case studies that illustrate the practical application of Daoist principles in ecological feminist practices, shedding light on the successes and challenges of integrating ancient philosophical insights into modern activism. The fusion of Daoist mysticism and ecofeminism provides a compelling vision for addressing the intertwined challenges of gender inequality and environmental degradation, suggesting pathways toward a more just, sustainable, and harmonious world. In doing so, it calls for a reimagined approach to social justice that is deeply informed by an understanding of ecological sustainability and gender equality as mutually reinforcing goals. [ABSTRACT FROM AUTHOR]

We propose an approach to tuning systems in which octave doubling ratio is replaced by a suitable algebraic unit τ, and note frequencies are proportional to a subset of the ring $ \mathbb {Z}[\tau ] $ Z [ τ ]. Then it is possible for many difference tones between notes in the tuning to also appear in the tuning. After outlining more general principles, we consider in detail some natural examples based on the golden ratio $ \phi =(1+\sqrt {5})/2 $ ϕ = (1 + 5) / 2 , limited by norm or by the number of digits in the greedy β-expansion. We discuss additive and multiplicative properties, implementation and composition using these tunings. The Online Supplement contains MIDI and websynths files to implement the tuning $ S_\beta ^5(\phi) $ S β 5 (ϕ) (based on β-expansions to $ \phi ^{-5} $ ϕ − 5 ) on websynths.com and a composition Three Places. [ABSTRACT FROM AUTHOR]

Music is a visceral experience. It allows audiences to feel its message in and through their bodies. In this essay, I bring together the rhetorical concepts of viscerality and harmony to offer a new approach to feminist musical rhetorical criticism. I argue that recording artists ROES and Sia produce rhetorical harmony by performing and inciting viscerality in "Battle Cry," and that rhetorical harmony exists when connections are made across difference for social change. [ABSTRACT FROM AUTHOR]

Balthasar is, first and foremost, a Germanist. His theology is internally related to literature. This article shows how deep this link is, starting from three aspects: the literary coordinates that appear to be integrated in the theological structure of his thought, the theological language that Balthasar discovers in the literature, and the use of some literary instruments to engage with theology. Overall, Balthasar bases this profound and internal use of literature on the harmony/harmonization (Zum-stimmen-bringen/justesse/analogia linguae) he discovers between literary form or style and theological content. This harmony, justesse, or analogia is mediated by the free creativity of the author of the literary text under the power of the Spirit and sustained by the analogia entis and Christological analogia entis. [ABSTRACT FROM AUTHOR]

When logicians work with multiple-conclusion systems, they use a metalinguistic comma ',' to aggregate premisses and/or conclusions. In this note, I present an analogy between this comma and Prior's infamous connective tonk. The analogy reveals that these expressions have much in common. I argue that, indeed, the comma can be seen as a structural incarnation of tonk. The upshot is that, whatever story one has to tell about tonk , there are good reasons to tell a similar story about the comma in typical multiple-conclusion systems, and vice versa. [ABSTRACT FROM AUTHOR]

The pleasurable urge to move to music (PLUMM) activates motor and reward areas of the brain and is thought to be driven by predictive processes. Dopamine in motor and limbic networks is implicated in beat‐based timing and music‐induced pleasure, suggesting a central role of basal ganglia (BG) dopaminergic systems in PLUMM. This study tested this hypothesis by comparing PLUMM in participants with Parkinson's disease (PD), age‐matched controls, and young controls. Participants listened to musical sequences with varying rhythmic and harmonic complexity (low, medium and high), and rated their experienced pleasure and urge to move to the rhythm. In line with previous results, healthy younger participants showed an inverted U‐shaped relationship between rhythmic complexity and ratings, with preference for medium complexity rhythms, while age‐matched controls showed a similar, but weaker, inverted U‐shaped response. Conversely, PD showed a significantly flattened response for both the urge to move and pleasure. Crucially, this flattened response could not be attributed to differences in rhythm discrimination and did not reflect an overall decrease in ratings. For harmonic complexity, PD showed a negative linear pattern for both the urge to move and pleasure while healthy age‐matched controls showed the same pattern for pleasure and an inverted U for the urge to move. This contrasts with the pattern observed in young healthy controls in previous studies, suggesting that both healthy aging and PD also influence affective responses to harmonic complexity. Together, these results support the role of dopamine within cortico‐striatal circuits in the predictive processes that form the link between the perceptual processing of rhythmic patterns and the affective and motor responses to rhythmic music. [ABSTRACT FROM AUTHOR]

Simple Summary: Equestrian sports include a diverse range of activities requiring a wide variety of technical skills, all of which are based on collaboration between a rider and a horse. During training, horses are taught to respond appropriately to the rider's cues or "aids". In addition to these trained responses, the rider's weight is associated with mechanical effects that are based on physical principles governing the behavior of, and interactions between, bodies in the environment. The effects of gravity, inertia, and turning have predictable effects on the horse, but these may be modified by the rider's symmetry, balance, and posture. The ultimate goal is for the rider to have a harmonious relationship with the horse, which is addressed in the final section of this article exploring the biomechanical underpinnings of the harmony between riders and horses. Movements of the horse and rider in equestrian sports are governed by the laws of physics. An understanding of these physical principles is a prerequisite to designing and interpreting biomechanical studies of equestrian sports. This article explains and explores the biomechanical effects between riders and horses, including gravitational and inertial forces, turning effects, and characteristics of rider technique that foster synchronous movement with the horse. Rider symmetry, posture, and balance are discussed in the context of their relationship to rider skill level and their effects on the horse. Evidence is presented to support the feasibility of improving equestrian performance by off-horse testing followed by unmounted therapy and exercises to target the identified deficiencies. The elusive quality of harmony, which is key to a true partnership between riders and horses, is explored and described in biomechanical terms. [ABSTRACT FROM AUTHOR]

Beethoven's lessons in Vienna with Haydn, Albrechtsberger, and Salieri are well known, but considerably less has been written about his earlier studies in Bonn. This article examines what Beethoven may have learned from two treatises that Gustav Nottebohm (1873) connected to Beethoven's Bonn manuscripts: Johann Philipp Kirnberger's Die wahren Grundsätze zum Gebrauch der Harmonie (1773) and Georg Joseph Vogler's Gründe der Kuhrpfälzischen Tonschule in Beyspielen (1776, revised in 1778). I corroborate the evidence that links these treatises to Beethoven, analyze and categorize their contents, and suggest some parallels between materials in these treatises and Beethoven's Bonn works including his "Elector" piano sonatas (WoO 47; 1783) and his two unusual preludes for piano or organ (op. 39; 1789, published in 1803). From what we know of Beethoven's studies in Vienna, several pillars of standard eighteenthcentury musical education are missing: the study of solfeggio, thoroughbass, and harmony. This article makes the case that Beethoven encountered this training in Bonn. From Kirnberger's Grundsätze, he would have learned about the fundamental bass, harmonic function and progression, and the principles of prolongation. In Vogler's book, he would have encountered solfeggio exercises, common thoroughbass patterns including the Rule of the Octave, invertible sequences, diminution patterns, modulations schemes to every key, the fundamental bass, and more. Although these two treatises were not the only books Beethoven likely studied in Bonn, they offer probable windows into his formative lessons in music theory, improvisation, and composition. There is hardly any treatise which could be too learned for me. I have not the slightest pretension to what is properly called erudition. Yet from my childhood I have striven to understand what the better and wiser people of every age were driving at in their works. Shame on an artist who does not consider it his duty to achieve at least as much. [ABSTRACT FROM AUTHOR]

Seeking to elucidate aspects of harmonic practice that originated in contrapuntal patterns, this article traces a specific set of voice-leading configurations in which the generative roles of dissonance, counterpoint, and harmonic progression are blurred. These configurations, originating in early eighteenth-century practice, feature upper-voice suspensions, which are notable for their interlocking qualities and for their compatibility with an extended range of thoroughbass patterns and bass motions (Harrison 2003). Segments of such patterns were partially assimilated into later compositional practice and appeared in treatises on fundamental-bass and scale-step systems of harmony, but these configurations revealed a degree of friction between counterpoint-based idioms and the emerging harmonic theories attempting to explain them according to singular principles. The continued appearance of these configurations in subsequent compositional practice raises the question of what aspects of dissonance and counterpoint have been both embedded in harmonic practice and increasingly subordinated to chord structure in the harmonic theories that stretch from Rameau to Schenker. This dialectical engagement between historical theory and compositional practice offers a critique of our inherited harmonic theories, exposing competing conceptions of dissonance and discrepancies over its autonomy relative to harmonic principles. Tracing this history also reveals that the essential connections among rhythm/meter, dissonance treatment, and harmonic progression that are clearly present in eighteenth-century practice--Kirnberger's "rhythmic harmony" (Aldrich 1970)--become increasingly subordinated to harmonic principles in nineteenth-century theory. The historical path of embedded dissonance appears to exemplify Adorno's notion of sedimentation, which offers several interesting disciplinary and aesthetic conclusions about harmonic theory. [ABSTRACT FROM AUTHOR]

Harmony, which is a concept that every music person should know in the direction of his/her field of use, is the subject of academic studies with its theoretical, practical and educational dimensions. Postgraduate theses also constitute an important part of these academic studies. This research aims to examine postgraduate theses written in Turkey, in the field of harmony. The sample of this research is a total of 63 postgraduate theses completed between 1989-2022. This research is qualitative research and the data analysis method is document analysis. The results of the research indicated that the majority of the theses, written in the field of harmony, were at master's degree. 2019 was the year in which the most research was completed. Most of the theses were completed at Gazi University and institutes of Social Sciences. The most preferred research subject is the field of harmony education. Qualitative research methods were used mostly. The most used data collection tool is documents and the most used data analysis method is document analysis. [ABSTRACT FROM AUTHOR]

Ninth chords are in the group of extended chords. In the age of the tonal system, dominant ninth chords, which are established on the V degree of the scale, are used. The uses of these dissonant chords, which differ in major and minor tonalities, in works show differences in music history, mostly based on the requirements of the period. The related evolution is more striking in that it is easily observed in works written for the piano, which is a polyphonic instrument. In this study, the organizations, inversions, alterations on the 9th voices, resolutions, and rootless uses of dominant ninth chords were first discussed theoretically; then, their available uses were examined on examples from baroque, classical, romantic, and 20th century piano works. In the age of the tonal system, the 9th voice above the dominant chord was initially considered a non-chord tone and was resolved before the chord change, later used as a chord tone and resolved during the chord change if present, and continued to be used as a chord tone in the 20th century, but the resolution tendency was observed to decrease. In the relevant Turkish literature, there are deficiencies in the context of examining the use of diatonic and altered ninth chords. It is recommended that such topics, which sometimes go beyond classical harmony teaching, be given more prominence in the contents of harmony books. [ABSTRACT FROM AUTHOR]

Background and Objectives: The present study aimed to explore meaningful change in the musical performance of cochlear implant (CI) users according to age after receiving music training compared to the other CI users who did not receive any music training and normal hearing (NH) listeners. Materials and Methods: Article search was conducted from five journal databases. In accordance with PICOS criteria, 29 articles and 15 articles were included for the CI and NH groups, respectively. A total of 44 articles consisting of 407 CI users and 486 NH participants were then analyzed. Using the data gathered from pre- and post-training, meta-analysis was applied by the random-effects model, and then piecewise meta-regression was employed. Results: CI users with music training showed better performance than those without the training across all ages. The curve change in musical performance when training showed that the CI users was similar to the general pattern of NH performance, indicating that the CI users gained benefits from music training and developed perceptual ability, even though it was not as high as the level of NH counterparts. Conclusions: This finding supports the benefits of active engagement with music for both CI users and NH listeners, while noting the important role of music as one of the primary aural rehabilitation approaches. [ABSTRACT FROM AUTHOR]

Stephen Read presented harmonious inference rules for identity in classical predicate logic. I demonstrate here how this approach can be generalised to a setting where predicate logic has been extended with epistemic modals. In such a setting, identity has two uses. A rigid one, where the identity of two referents is preserved under epistemic possibility, and a non-rigid one where two identical referents may differ under epistemic modality. I give rules for both uses. Formally, I extend Quantified Epistemic Multilateral Logic with two identity signs. I argue that a uniform meaning for identity tout court can be given by adopting Maria Aloni's account of reference using conceptual covers. We obtain a harmonious set of rules for identity that is sound and complete for Aloni's model theory. [ABSTRACT FROM AUTHOR]

Each of us is challenged to develop solutions for communication with patients in our own field. What I would like to offer comes, on the one hand, from my own communication practice with subjects and, on the other hand, from a philosophy and technique of communication that proposes to behave strategically towards one‘s interlocutor: Neurolinguistic Programming (NLP). [ABSTRACT FROM AUTHOR]

The so-called royal road progression (RRP), whose archetypal lead-sheet representation is F–G–Em–Am, is a distinctive feature of modern Japanese popular music. The RRP arose from the manipulation of basic elements of diatonic harmony and coexists with several closely related progressions in J-pop style. Composers often use the RRP to lend Aeolian flavor to major-key songs; however, the RRP is a tonally flexible pattern. After presenting a typology of phrases that use the RRP, I argue that the progression can articulate partial tonic function and can induce a binary tonal system , which occupies the conceptual space between tonal pairing and double-tonic complex. I also provide a diachronic account of the RRP as an element of J-pop history and pop-music history in general. By relating the concepts of partial tonic function and binary tonal system to the RRP, this paper gives insight into the understudied harmonic language of J-pop and invites application of the concepts to other musics. [ABSTRACT FROM AUTHOR]

In a recent paper del Valle-Inclan and Schloder argue that bilateral calculi call for their own notion of proof-theoretic harmony, distinct from the usual (or 'unilateral') ones. They then put forward a specifically bilateral criterion of harmony, and present a harmonious bilateral calculus for classical logic. In this paper, I show how del Valle-Inclan and Schlöder's criterion of harmony suggests a notion of normal form for bilateral systems, and prove normalisation for two (harmonious) bilateral calculi for classical logic, HB1 and HB2. The resulting normal derivations have the usual desirable features, like the separation and subformula properties. HB1-normal form turns out to be strictly stronger that the notion of normal form proposed by Nils Kurbis, and HB2-normal form is neither stronger nor weaker than a similar proposal by Marcello D'Agostino, Dov Gabbay, and Sanjay Modgyl. [ABSTRACT FROM AUTHOR]

Proof-theoretic semantics is an inferentialist theory of meaning originally developed in a unilateral framework. Its extension to bilateral systems opens both opportunities and problems. The problems are caused especially by Coordination Principles (a kind of rule that is not present in unilateral systems) and mismatches between rules for assertion and rules for rejection. In this paper, a solution is proposed for two major issues: the availability of a reduction procedure for tonk and the existence of harmonious rules for the paradoxical zero-ary connective •. The solution is based on a reinterpretation of bilateral rules as com-plex rules, that is, rules that introduce or eliminate connectives in a subordinate position. Looking at bilateral rules from this perspective, the problems faced by bilateralism can be seen as special cases of general problems of complex systems, which have been already analyzed in the literature. In the end, a comparison with other proposed solutions underlines the need for further investigation in order to complete the picture of bilateral proof-theoretic semantics. [ABSTRACT FROM AUTHOR]

How should we understand the relation between God and morality? This article aims to address this question by constructing a theistic metaethical theory informed by postphenomenological mediation theory. According to postphenomenological mediation theory, properties and values are not independent entities but are instead mutually constituted through the relationships that they participate in. By emphasizing relationships and understanding goodness as harmony, the theory allows God and creation to jointly constitute goodness. This alternative theory is compared to the metaethical theories proposed by Robert M. Adams and Mark C. Murphy, which represent the two primary strands of theistic metaethics: theological voluntarism and natural law theory, respectively. The alternative theory exhibits certain advantages and resolves some of the issues found in Adams' and Murphy's theories. [ABSTRACT FROM AUTHOR]

The mutual reception of the Eucharist is a key issue in contemporary Christian unity. As a landmark document in Christian unity, the Lima document provides a profound exposition of the Eucharist. According to this article, eucharistic communion in the Lima document is expressed in three themes: "Communion with Christ", "Communion of the Faithful", and "Meal of the Kingdom". Within these three themes, there are three groups of relationships: the relationship of mutual participation between the faithful and Christ, and the relationship of "demonstrate" and "effect" between the Eucharist and the oneness of the Church. Moreover, in the connotation of the banquet, there is the relationship of "foretaste" between the Eucharist and the Kingdom of God. Further, in my opinion, the concept of "eucharistic communion" is developed into a "theology of harmony", namely, "the harmony between heaven and humans", "the harmony between people and people", and "the harmony between heaven and earth" in the Lima document. [ABSTRACT FROM AUTHOR]

Studies of tonality in Monteverdi's madrigals have focused on cadential harmonies at phrase endings, for the most part ignoring the music that comes in between. The present study, focusing on homorhythmic music, identifies three elements lying between chordal arrivals: schemata, splices, and elisions. Schemata are short conventionalized outer-voice progressions that can connect a variety of starting and ending chords; splices are alterations by which the second version of a progression is varied when it is repeated in transposition; and elisions are made by common tones between the last chord of one progression and the first of the next. Each one of these essentially contrapuntal strategies is a crucial building block of Monteverdi's tonal structures: together they contribute to closing tonal circles, to an expressive use of register, and to meaningful changes of texture. [ABSTRACT FROM AUTHOR]

The article addresses the ways in which soft power is used in Japanese advertising, both domestic and abroad. After the challenges brought by the end of World War II, Japan finds as a means of recovery the export of a new type of culture, focused on values different from the traditional ones and regains its place through cultural diplomacy (soft power). Having as a starting point this shift from hard (coercive approach) to soft power (persuasive approach) this article intends to explore the concept of kawaii, often associated with the new culture engaged in the promotion of nostalgia, disguised as cultural consumption, which promotes vulnerability, cuteness, innocence, purity etc. as values. The objective of this work is to show through different examples the main reasons why this overwhelmingly cute culture gained rapid popularity in Japan and abroad, going so far as to be used even by the government as part of advertising campaigns. [ABSTRACT FROM AUTHOR]

Empirical studies have demonstrated that self-relevant information affects temporal order perception. Therefore, the question arises of whether personal values—which are the core components of the self—influence temporal order perception. To explore this problem, we chose harmony, one of the most common values in Chinese culture, as the starting point. First, the harmony scale was used to measure the harmony values of the participants, and the participants were divided into high- and low-harmony groups. The validity of the grouping was then verified using an implicit-association test. Furthermore, two temporal order judgment (TOJ) tasks were used to explore the impact of harmony values on temporal order perception. The results revealed that in both TOJ tasks, participants in the high-harmony group tended to perceive harmonious stimuli before non-harmonious stimuli, while the effect was not found in the low-harmony group. We conclude that harmony values affect temporal order perception, and only if the values are important to the individual. [ABSTRACT FROM AUTHOR]

Numerous investigations have examined anchoring effects, but most of them studied individuals from similar cultural and socioeconomic backgrounds. Replication studies have shown that anchoring heuristics have heterogeneous effects across different cultural groups. In the present investigation, we examined this heterogeneity by looking for associations between effect size and cultural values orientation. We conducted pre‐registered meta‐analyses of four anchoring tasks, using open data provided by previous works and collected from 6,344 participants in 10 countries. The analyses confirmed that anchoring effects display strong heterogeneity between cultures. Moreover, specific cultural values orientations explained substantial amounts of variability in anchoring effect sizes between cultures: Intellectual Autonomy and Egalitarianism were negatively correlated with anchoring effect size, as we had expected. Surprisingly, Harmony was also negatively correlated with anchoring effect size, whereas Mastery had a positive association. These results suggest that cultural differences can play an important role in observed anchoring effect size. [ABSTRACT FROM AUTHOR]

In this paper, we propose a model for idealized diatonic and chromatic voice leadings between seventh chords and study its computational aspects. The model provides a mathematical formalization of the concept of tonal seventh chord realizations including augmented sixth chords. Certain contrapuntal aspects, such as preparation and resolution of certain dissonant intervals, are taken into account. Possible applications of the model are discussed using a graph-theoretic approach. In particular, we present an algorithm for generating concrete voicings from sequences of seventh-chord symbols. [ABSTRACT FROM AUTHOR]

We discuss and enumerate pc-sets that are both not contained in any diatonic collection and are minimal with respect to this property, and we generalize this idea to other collections. We also consider related simplicial complexes and examine how some of their geometric properties reflect qualities of the associated pc-sets. [ABSTRACT FROM AUTHOR]

Musical chords play an essential role, especially in Western music, and the corresponding consonance–dissonance contrasts and emotional continua are still the targets of investigation in psychoacoustics and neurophysiology. In the present study, we define the simplicity of frequency ratios S f and simplicity of period ratios S p for the constituents of a chord and propose that those measures should be used as the two coordinate axes in the plane for plotting chords. In this plane, the major and minor chords are reflections of each other with respect to the diagonal S f = S p . The other chord pair in the same relationship is the major–minor seventh (dominant seventh) and the half-diminished seventh chords. The other triads and seventh chords do not make such pairs of different categories of chords. It was also found that at least for triads, the sum S p + S f and the difference S p − S f seem to correspond to subjective consonance and the melancholic/sad emotional ratings, respectively. Implications of these findings are discussed. The proposed simple presentation may help interpret and model psychoacoustic and neurophysiological results on musical chords. [ABSTRACT FROM AUTHOR]

Love is the core of human experience and central to our meaning in life and wellbeing, yet it is also a complex concept full of ambiguity and contradiction. The main purpose of this paper is fourfold: Firstly, we want to clarify questions such as 'What is the meaning of love?' and 'Why is meaning of love so important to us?' Secondly, we want to explain why love is both suffering and essential for our happiness and mental health. Thirdly, we identify the major types of love and clarify which types are constructive and which are destructive. We also identify the key dimensions of true love. Finally, we emphasise that love does not always mean happiness; rather, it is meant to be a school to teach us important lessons and to make us complete. Therefore, we need to embrace suffering and at the same time cultivate the constructive types of love to improve our mental health and to make the world a more compassionate place. [ABSTRACT FROM AUTHOR]

Modern conservation was formed under the influence of two approaches, 'stylistic restoration' and 'conservation' as pioneered by Eugène Viollet-le-Duc and John Ruskin, respectively. In Iran, due to the prevalence of both modernity and nationalism at the beginning of the twentieth century, a period of extensive restoration of historic buildings was begun. The aim of this study is to identify the implicit principles of that restoration, and it is argued that it had its own characteristics due to the unfamiliarity in Iran with European approaches to conservation. Case studies were used to provide data for analysis to identify the principles and themes guiding the restoration. These included effecting the 'perfection or completeness of the architectural work', 'decoration and beautification', 'harmony', and restoration that exemplified 'traditional art' and 'traditional proficiency', all of which indicate a similarity with the characteristics of 'stylistic restoration', the purpose of which, according to Viollet-le-Duc, was to reinstate a building in a complete and ideal condition. This approach is interpreted as being in accordance with the prevalence of nationalism both in Europe and Iran, but where modern principles such as readability and minimal intervention were disregarded in the Iranian approach to such restorations. [ABSTRACT FROM AUTHOR]

The efficiency of electrical power can be improved by improving power quality. Installing capacitor banks is one way to improve power quality by improving the power factor. On the other hand, the use of non-linear loads is increasing. This load produces a non-sinusoidal waveform which causes harmonics to appear in the electric power system. Harmonic problems will become a serious problem in the power system when there is a capacitor bank in the system which will cause resonance risk at the harmonic frequencies. This resonance problem can be solved by installing a detuned filter. Detuned filters can reduce harmonics and protect the system from the resonance risk. However, the detuned filter installation is not sufficient to reduce all harmonics that generated by non-linear loads, so the system needs to be equipped with an active filter. In this study, using a combination of 14% detuned filter and active filter, each of which is attached parallel to the load. The result of power quality improvement can increase the power factor from 0.6 to 0.88, THDi is reduced from 49.5% to 18%, and THDv is reduced from 2.18% to 1.97% after installing the hybrid filter. [ABSTRACT FROM AUTHOR]

The artificial grammar learning paradigm is a classic method of investigating the influence of universal constraints on shaping learning biases on language acquisition. While this method has been used extensively by linguists to test theoretical claims in generative grammar, one of the most prevalent frameworks in language acquisition, several studies have questioned whether artificial grammar learning reflects language acquisition enough to allow us to use it to draw inferences about the validity of universal constraints, particularly those arising from phonetic naturalness. The current study tests whether artificial grammar learning shows the effect of one robust phonetic naturalness constraint: the restriction on nasal harmony patterns arising from the sonority hierarchy. Nasal harmony is of particular interest because it is one of the few types of harmony that occurs between consonants and vowels, which is an under-researched topic. The results, contrary to the skeptical concerns, showed that participants (n = 120) could learn an artificial grammar involving a natural pattern, but could not learn one corresponding to an arbitrary/phonetically unmotivated pattern in the same way or to the same degree. This study contributes epistemic support to the large body of work using artificial grammar experiments to test phonological operations. [ABSTRACT FROM AUTHOR]

This work investigates whether there are harmonic sets which are universally prioritized when fitting the chromatic just scale with equal-tempered tunings. We design a method to find which temperaments properly and non-ambiguously fit a set of pure intervals and show that: (a) Within range N ∈ [9, 54], temperaments with 12, 19, 22, 24, 31, 34, 41 and 53 divisions are suitable for adjusting the twelve-tone chromatic just scale - in particular, 53 divisions provide the most accurate fit, (b) For M-element subsets of the chromatic universe with M ∈ [3, 7], these solutions are always more faithfully reproduced when the target set is a major scale rather than a minor one, and (c) Sequences of notes uniformly distributed over the octave are disadvantageous references for finding suitable temperaments numerically. The latter observation suggests a mathematical background for understanding the preference for non-uniform scales in world music revealed by recent studies in ethnomusicology. [ABSTRACT FROM AUTHOR]

We present a dataset of 264 annotated piano pieces of nine composers, composed in the long 19th century (https://doi.org/10.5281/zenodo.7483349). Annotations adhere to the DCML harmony annotation standard and include Roman numerals, phrase boundaries, and cadence types. The scores are encoded in the XML-based MuseScore 3 format. Annotations are embedded within the MuseScore files. In addition, all harmony information, alongside key features of the encoded measure and note objects, is provided in the form of plaintext TSV-formatted tables for increased interoperability with other datasets and analysis tools. Annotations were collaboratively created and reviewed by a pool of trained music theorists. Collaboration took place asynchronously online via a semi-automated GitHub-based workflow designed for quality assurance, allowing cycles of revisions and reviews until consensus is reached. The full revision history is retained, providing data for further empirical research on inter-annotator agreement and related topics. We also present descriptive statistics about the nine corpora and the dataset as a whole, including comparisons of pitch-class contents, phrase lengths, modulations, and cadence types. We conclude with a discussion of our musicological principles for corpus building and considerations of representability. [ABSTRACT FROM AUTHOR]

Scholars generally agree that Franz Liszt's Bagatelle ohne Tonart (1885), "bagatelle without tonality" for piano, is locally tonal, but they do not agree on what the tonality is. English-language authors have proposed eight different tonal centers for the Bagatelle. Russian theorist Yuriy Kholopov adds a ninth: B minor. My analysis adopts Kholopov's position and uses a harmonic reduction to demonstrate the viability of a B-minor hearing. I draw on Kholopov's "states of tonality" to argue that different hearings of the Bagatelle depend on different conceptions of tonality and the variety of listening strategies they entail. [ABSTRACT FROM AUTHOR]

This article examines unique and non-diatonic chords relationships or harmony that do not necessary relate to the concept of modal interchange. This relationship is called the Chromatic Mediant. This article studies this topic, focusing on popular songs from the Israeli music field. It is the first to establish the role of these chord relations in Israeli music and understand their harmonic meaning. We will see examples of the Chromatic Mediant in the songs of some of Israel's most celebrated songwriters: Shalom Hanoch, Danny Sanderson, Matti Caspi, Meir Banai, Shlomi Shaban, and even some more alternative rock bands such as Rockfour. In total, we will review eight songs that include the Chromatic Mediant's and tertian relations' aspect or other kind of interesting tertian relations, and understand their harmony. This article displays how the Chromatic Mediant and tertian relations allow for movements, which expands the tonal spectrum, as well as the addition of chromatic colors and, at the same time, remains committed to the tonal frame. [ABSTRACT FROM AUTHOR]

The paper is dedicated to identifying one of the problems of church music in the Serbian Orthodox Church in the territory of Austro-Hungary in the period from the XVIII to the XIX century. Church chanting was transmitted orally until the appearance of Kornelije Stankovic and his attempts to record Serbian folk chant with the help of Western European notation. The question arises as to how many different factors influenced the Western European way of thinking to take root in Orthodox Serbian church music. [ABSTRACT FROM AUTHOR]

Harmony can be realized in various ways, including by presenting a sense of mutual understanding, mutual acceptance and tolerance of deficiencies, and establishing respect between husband and wife during their family relationship. Juridically, the Unitary State of the Republic Indonesia has regulated household resilience for each of its citizens through the Draft Law on Family Resilience. The Central Bureau of Statistics for East Java Province has released the number of divorces that have occurred in Jember Regency during 2021 as many as 354 cases. Seeing this fact, the aspects for realizing harmony in the running of household life in the Jember Regency area deserve to be studied in more detail. Tegal Besar is the name of a village in Jember Regency, East Java Province. As one of the areas with a fairly large population, Tegal Besar deserves to be made a research object to study and analyze factors of household harmony for people who have been married for more than 20 years. From the results of the research that has been described, it can be concluded that the factors that can shape household harmony consist of: religious factors, economic factors, psychological factors, communication factors, and throne or position factors. The level of education possessed by a person is very relevant to the formation of his ability to manage household life so that it becomes harmonious. Then efforts that can be made to create a harmonious household, include: choosing a life partner who is righteous and righteous, cultivating romance in the household, guiding the family to always fear Allah, and being pleased with all the sustenance and destiny that Allah has bestowed. in household life. [ABSTRACT FROM AUTHOR]

The principle aim of this article is to reveal the organization, institutionalization and control over knowledge and practices taking place in several representations of universal harmony in early seventeenth century France. Firstly, we propose to observe the theological, scientific and musical foundations of this concept discussed by Johannes Kepler, Robert Fludd, Marin Mersenne and Pierre Gassendi. Secondly, we should examine the theorical and practical elements that determine the epistemological value of scientific demonstrations or experiences. Particularly, we try to avoid the path taken by certain historiographical interpretations that place significant emphasis on a radical distinction, even opposition, between the occultist's tradition of a mystical and numerological harmony and the mathematical approach of the scientific revolution. In this manner, we can with justice consider the scientific and philosophical contributions and also the sociopolitical and religious consequences of this controversy. [ABSTRACT FROM AUTHOR]

Humans can detect various anomalies in a sound sequence without attending to each dimension explicitly. Event‐related potentials (ERPs) have been used to examine the processes of auditory deviance detection. Previous research has shown that music‐syntactic anomalies elicit early right anterior negativity (ERAN), whereas more general acoustic irregularities elicit mismatch negativity (MMN). Although these ERP components occur in a similar latency range with a similar scalp topography, the relationship between the detection processes they reflect remains unclear. This study compared these components by manipulating music‐syntactic (chord progression) and acoustic (intensity) irregularities orthogonally in two experiments. Non‐musicians (Experiment 1: N = 39; Experiment 2: N = 24) were asked to listen to chord sequences, each consisting of 5 four‐voice chords, as they watched a silent video clip. Standard, harmonic‐deviant, intensity‐deviant and double‐deviant chords occurred at the final position in each sequence. Deviant stimuli were presented infrequently (p =.10) in Experiment 1 and equiprobably (p =.25) in Experiment 2. Regardless of deviance probability, both harmonic and intensity deviants elicited similar negativities, which were indistinguishable in terms of latency or scalp distribution. When the two deviant types occurred simultaneously, the negativity increased in an additive manner; that is, the amplitude of the double‐deviant ERP was as large as the sum of the single‐deviant ERPs. These findings suggest that the detection of music‐syntactic and acoustic irregularities works independently, based on different regularity representations. [ABSTRACT FROM AUTHOR]

Debate continues regarding the purpose and practice of music in relation to participation, cultural origin, and education internationally. A Darwinian approach that sees musical vocalization as the adaptive bridge between animal communication and human language remains hotly disputed where such a model does not suit the prevailing political or social agenda. The two books under review present contrasting viewpoints and evidence, while their concurrent publication illustrates the rich potential for developments in this field. Friedmann's edited book presents separate chapters by sixteen independent authors covering a range of specialisms and topics. Wood's monograph is, by contrast, an encyclopaedic exploration of the earliest writings on musical theory from China, Greece, and India and their influence on the world's music over the last 4,000 years. Read both separately and comparatively, these two publications offer a valuable contribution to our understanding of the phenomenon of music and its practice today. [ABSTRACT FROM AUTHOR]

This article explores and examines research in the field of human vocalization, proposing an evolutionary sequence for human acoustic perception and productive response. This involves updating and extending Charles Darwin's 1871 proposal that musical communication predated language, while providing the anatomical and behavioral foundations for the articulacy on which it depends. In presenting evidence on which a new consensus regarding the emergence of human vocal ability may be based, we present and review contributions from a wide range of disciplines, illustrating that the phenomenon of human musicality may have had more of a core function in shaping our anatomy and culture than has hitherto been recognized. Essential to the adaptive sequence on which this depends is human perceptual and productive response to the properties of the Harmonic Series. Both music and language have emerged from the auditory and performative consequences of this relationship. [ABSTRACT FROM AUTHOR]

Many authors have noted the role that anthropocentrism has played in creating humanity's dysfunctional relationship with the natural world. As human hubris (excessive pride or self-confidence) is an ailment that contributes to the anthropogenic sixth mass extinction of Earth's biodiversity, we argue instead for 'harmony with nature'. In recent decades, even the conservation discourse has become increasingly anthropocentric. Indeed, justification for nature conservation has in part shifted from nature's intrinsic value to 'ecosystem services' for the benefit of people. Here we call for a transformation to a more harmonious human-nature relationship that is grounded in mutual respect and principled responsibility, instead of utilitarianism and enlightened self-interest. Far from what Tennyson called 'red in tooth and claw', we argue nature is a mixture of cooperation as well as competition. We argue that the UN's 'Harmony with Nature' program is an innovative and refreshing path for change. If we are to achieve harmony with nature, modern industrial society will need to abandon its anthropocentric 'human supremacy' mindset and adopt an ecocentric worldview and ecological ethics. We conclude it is thus both appropriate (and essential) for conservationists to champion harmony with nature. [ABSTRACT FROM AUTHOR]

Inhabiting the city has to do with respect among its members. That respect derives from the recognition that one has of the other from the sense of responsibility. The subject in itself is bound by the other. The self disposed to the other responds to his demand, he is free insofar as he owes itself to the other. On the other hand, Sloterdijk speaks of the toposphere as the place where one lives in spheres in which one and the other recognize each other. A city whose spheres are harmonious is aesthetic, and it is at the same time an ethical city. In times of pandemic, isolation, disorder and irresponsibility prevail, and one lives in a thanatopo. Suggestions are made for a better life in the city in times of pandemic. [ABSTRACT FROM AUTHOR]

Because Islamism emerged as a local socio‐political movement in the Turkish modernisation history as an alternative solution to problems in addition to modern ideologies transferred from the West, Islamism has always been a subject of discussion as an important socio‐political movement in Turkish political life. However, this movement that emerged in the early periods of the Turkish modernisation history has gone through significant changes in the process to date. Domestic and foreign developments have had an important effect on these changes. Until recently, Islamism claimed to be an alternative to Western political understanding and civilisation, but as a result of being in power lately, it has sought to have a part in the system and to Islamise modernity. This situation constitutes the most important change the Islamic movement has gone through to date. This situation, that is, the transition from being an alternative to being within the system, has brought along debates about whether this can be considered as the end of the Islamic movement, or whether the emerging new situation represents a post‐Islamist period. The purpose of this article is to investigate whether the current era of Turkish Islamism indicates a post‐Islamist era considering the social and political changes it has undergone from its start to the present day, and to examine the main characteristics of this new era. [ABSTRACT FROM AUTHOR]

The main focus of this article is the explanatory power that music has in Confucianism according to the Analects (Lunyu 論語) and The Classic of Rites (Liji 禮記), which is reaffirmed in the Song Dynasty by Zhou Dunyi in the chapters on music in Tongshu (通書, The Penetrating Book). The article suggests that Tongshu's chapters on music demonstrate the non-linear and non-metaphysical musical nature of Confucianism. According to this suggestion, the chapters introduce a dynamic, living model for the Confucian Way, on its own terms. This musical model supports the early Confucian vision of a multifaceted person, progressing in a multi-dimensional Way within a multi-layered polysemic world. Progressing along the Way, self-cultivation appears as one's task to develop the various musical potentialities inherent in her or himself. The article opens with the epistemological idea of "musical knowledge" acquired by attuned hearing that winds up in a creative, peacemaking heart. Next, it introduces the ontological idea of a government that models cosmic harmony, depicting the leader as having an orchestral conductor's aptitude; last, it presents a pragmatic perspective on the idea of musical education through the rules of propriety, depicting the practitioner as a skillful music player. [ABSTRACT FROM AUTHOR]

Mereological harmony is the idea that the mereological structure of objects mirrors the mereological structure of locations. Grounding harmony is the idea that there is a similar mirroring between the grounding structure of objects and locations. Our goal in this paper is exploratory: we introduce and then explore two notions of grounding harmony: locative and structural. We outline potential locative and structural harmony principles for grounding, and show which of these principles may entail, or be entailed by, principles of mereological harmony. We then present a case study in grounding harmony, by applying it to Schaffer's (in Philos Rev 119(1):31, 2010a) specific version of priority monism. We show that, given a strong form of grounding harmony, Schaffer-style monism is inconsistent, but that this inconsistency can be resolved by offering bespoke notions of grounding harmony. We use Schaffer's priority monism to demonstrate a broader tension within certain packages of metaphysical views, including versions of priority pluralism. We close by briefly considering the case against structural grounding harmony. [ABSTRACT FROM AUTHOR]

This article analyses the history and social processes taking place Central Asia. The development of social solidarity in the traditional Eastern society and the emerging transition to the model of Uzbekistan based on the principles of interaction with civil society are discussed. The author analyzed the factors and conditions of social solidarity development. Social solidarity itself is interpreted as a factor in the development of national statehood. Uzbekistan is increasingly becoming the initiator of unification and solidarity of states and societies throughout Central Asia and the East. The article deals with the research work and research of scientist-researchers on the social and philosophical issues about the nature and principles of establishing social unity in society. The given article makes it possible to get a more complete and profound understanding of the structure and essence of the basic institutions of modern society. [ABSTRACT FROM AUTHOR]