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The term panpsychism comes from the Greek pan (πᾶν: "all, everything, whole") and psyche (ψυχή: "soul, mind"). [7]: 1 The use of "psyche" is controversial because it is synonymous with "soul", a term usually taken to refer to something supernatural; more common terms now found in the literature include mind, mental properties, mental aspect, and experience.
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A variety of musical terms are encountered in printed scores, music reviews, and program notes. Most of the terms are Italian, in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings.
In its most basic form, panpsychism holds that all physical entities have minds (though its proponents take more qualified positions), [115] while neutral monism, in at least some variations, holds that entities are composed of a substance with mental and physical aspects—and is thus sometimes described as a type of panpsychism.
The term was first applied to music during the 16th century, at first to refer to the imaginative musical "idea" rather than to a particular compositional genre.Its earliest use as a title was in German keyboard manuscripts from before 1520, and by 1536 is found in printed tablatures from Spain, Italy, Germany, and France.
Panpsychism is a class of theories that believe that all physical things are conscious. John Searle distinguished it from neutral monism as well as property dualism, which he identified as a form of dualism. [7] However, some neutral monist theories are panpsychist and some panpsychist theories are neutral monist. However, the two do not always ...
Ward defended a philosophy of panpsychism based on his research in physiology and psychology which he defined as a "spiritualistic monism". [5] [6] In his Gifford Lectures and his book Naturalism and Agnosticism (1899) he argued against materialism and dualism and supported a form of panpsychism where reality consists in a plurality of centers of activity. [7]
The same music could be associated with a wide range of emotional responses in the listener. Chabanon rejected the rhetorical approach to music, because he did not believe that there was a simple correspondence between musical characteristics and emotional affects. Much subsequent philosophy of music depended on Chabanon's views. [9]