Handling Dissonance

Music can answer questions that often confound more discursive modes of thought. Music takes concepts that are all too familiar, reframes these concepts, and returns them to us with incisive clarity and renewed vision. Unity is one of these “all too familiar concepts,” thrown around by politicians, journalists, and pastors as if we all know what it means. By turning to music, especially musical space, the relational structure of unity becomes less abstract and more tangible within our philosophy. Arnold Schoenberg, as an inherently musical thinker, is our guide in this study of unity. His reworking of musical structure, dissonance, and metaphysics transformed the tonal language and aesthetic landscape of twentieth–century music. His philosophy of compositional unity helps us to deconstruct and reconceive how unity can be understood and worked with both aesthetically and theologically. This project also critiques Schoenberg’s often monadic musical metaphysic by turning to Colin Gunton’s conviction that the particularity and unity at the heart of God’s triune being should guide all of our theological endeavors. Throughout, music accompanies our thinking, demonstrating not only how theology can benefit the philosophy of music but also how the philosophy of music can enrich and augment theological discourse.

Published in 1976, Perspectives on Cognitive Dissonance is a valuable contribution to the field of Social Psychology.

This book will come as a joy, a revelation, a warm reassurance. From this one book one might well learn less about harmony than about form, about aesthetics, even about life. Some will accuse Schoenberg of not concentrating on the topic at hand, but such an accusation, though well-founded, would miss the point of Theory of Harmony, because the heart and soul of the book is to be found in his vivid and penetrating digressions. They are the fascinating reflections of a great and humane musician who was a born writer as well. - from the book.

Individuals in modern societies move among a variety of social encounters each day. Often contradictory behaviors are required to carry out these interactions. If behaviors and values are inconsistent from one setting to another, is a single self capable of adjusting adequately to such inconsistencies? Or is the total self made up of several selves, capable of effective performance in a complex and contradictory society? This volume addresses these fundamental concerns of social psychology and social organization. Dubin concludes that human beings have evolved socially so that there is an effective match between personality structures of modern persons and the advanced social systems in which they live. Dubin finds that people function competently in most institutions while investing little positive motivation in their performance. They reserve strong motivations for limited, self-chosen central life interests that define their core self. This results in a two-tier structure of living. The first level consists of self-chosen actions and values constituting a central life interest, geared toward self-realization. The second tier encompasses the bulk of social action as required behavior, facilitating institutional functioning, and maintaining social order. In today's modern world the individual occupies a more central position than ever. Modern citizens are freer than in the past to expand their ideas about themselves, encouraged by industrial and commercial institutions, while seeking, in their central life interests, the realization of their creative individualism. For the future, Dubin envisions a social system expanding opportunities for a broader range of central life interests. At the same time, required behaviors will have a more limited range, but will be enforced more rationally and imperatively in the interests of social order. "Central Life Interests "is an original and perceptive exploration of the linkages between persons and society. It will be of interest to sociologists, psychologists, economists, and administrative scientists.

Readers will find the same delight in the affinity of the incongruous, the subtlety of the commonplace, and the hidden simplicity of the complex. Only the subject matter is different in this case, some of the greatest - as well as the most trivial - of Western music."--Jacket.

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The ongoing revolution in electronic information technology raises critical questions about our right to privacy. As more personal information is gathered and stored at breathtaking speed, corporate America is confronted with the ethical and practical issues of how to handle the information in its databases: how should it be safeguarded and who should have access to it? In Managing Privacy, Jeff Smith examines the policies of corporations such as insurance companies, banks, and credit card firms that regularly process medical, financial, and consumer data. According to Smith, many companies lack comprehensive policies regulating the access to and distribution of personal data, and where stated policies do exist, actual practices often conflict. Few organizations are willing to become leaders in the development of such policies, instead formulating privacy guidelines only after being pressured by consumers, the media, or legislators. Smith argues that as information technology advances, both corporations and society as a whole must modify their approaches to privacy protection, and he presents specific suggestions for developing such policies. Originally published in 1994. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

John Cage seeks to explore the early part of the composer's life and career, concentrating on the pre-chance period between 1933 and 1950 that is crucial to understanding his later work. The essays consider Cage's influences, his evolving aesthetic, and his movement toward ideology that would later shape his work.