Inspecting the teaching of singing in the teacher training colleges of England, Wales and Scotland 1883-1899

This paper investigates the links between the teaching of singing, training and inspection during the late Victorian era. It utilises as a primary source the annual inspection reports of the music inspector, Sir John Stainer. More specifically it focuses upon the musical background of the students in the training colleges of England, Wales and Scotland, the methods employed to teach sight singing and voice production, the vocal repertoire and preparation for the teaching of singing in schools. Finally, some comparison is made with the present day and the relationship between the teaching of singing, training and inspection.

Overview and response to reviewers of The Singing Neanderthals

Why are humans musical? Why do people in all cultures sing or play instruments? Why do we appear to have specialized neurological apparatus for hearing and interpreting music as distinct from other sounds? And how does our musicality relate to language and to our evolutionary history? Anthropologists and archaeologists have paid little attention to the origin of music and musicality — far less than for either language or ‘art’. While art has been seen as an index of cognitive complexity and language as an essential tool of communication, music has suffered from our perception that it is an epiphenomenal ‘leisure activity’, and archaeologically inaccessible to boot. Nothing could be further from the truth, according to Steven Mithen; music is integral to human social life, he argues, and we can investigate its ancestry with the same rich range of analyses — neurological, physiological, ethnographic, linguistic, ethological and even archaeological — which have been deployed to study language. In The Singing Neanderthals Steven Mithen poses these questions and proposes a bold hypothesis to answer them. Mithen argues that musicality is a fundamental part of being human, that this capacity is of great antiquity, and that a holistic protolanguage of musical emotive expression predates language and was an essential precursor to it. This is an argument with implications which extend far beyond the mere origins of music itself into the very motives of human origins. Any argument of such range is bound to attract discussion and critique; we here present commentaries by archaeologists Clive Gamble and Iain Morley and linguists Alison Wray and Maggie Tallerman, along with Mithen's response to them. Whether right or wrong, Mithen has raised fascinating and important issues. And it adds a great deal of charm to the time-honoured, perhaps shopworn image of the Neanderthals shambling ineffectively through the pages of Pleistocene prehistory to imagine them humming, crooning or belting out a cappella harmonies as they went.

Cognitive influences on the affective representation of touch and the sight of touch in the human brain

We show that the affective experience of touch and the sight of touch can be modulated by cognition, and investigate in an fMRI study where top-down cognitive modulations of bottom-up somatosensory and visual processing of touch and its affective value occur in the human brain. The cognitive modulation was produced by word labels, 'Rich moisturizing cream' or 'Basic cream', while cream was being applied to the forearm, or was seen being applied to a forearm. The subjective pleasantness and richness were modulated by the word labels, as were the fMRI activations to touch in parietal cortex area 7, the insula and ventral striatum. The cognitive labels influenced the activations to the sight of touch and also the correlations with pleasantness in the pregenual cingulate/orbitofrontal cortex and ventral striatum. Further evidence of how the orbitofrontal cortex is involved in affective aspects of touch was that touch to the forearm [which has C fiber Touch (CT) afferents sensitive to light touch] compared with touch to the glabrous skin of the hand (which does not) revealed activation in the mid-orbitofrontal cortex. This is of interest as previous studies have suggested that the CT system is important in affiliative caress-like touch between individuals.

A solar storm observed from the Sun to Venus using the STEREO, Venus Express, and MESSENGER spacecraft

The suite of SECCHI optical imaging instruments on the STEREO-A spacecraft is used to track a solar storm, consisting of several coronal mass ejections (CMEs) and other coronal loops, as it propagates from the Sun into the heliosphere during May 2007. The 3-D propagation path of the largest interplanetary CME (ICME) is determined from the observations made by the SECCHI Heliospheric Imager (HI) on STEREO-A (HI-1/2A). Two parts of the CME are tracked through the SECCHI images, a bright loop and a V-shaped feature located at the rear of the event. We show that these two structures could be the result of line-of-sight integration of the light scattered by electrons located on a single flux rope. In addition to being imaged by HI, the CME is observed simultaneously by the plasma and magnetic field experiments on the Venus Express and MESSENGER spacecraft. The imaged loop and V-shaped structure bound, as expected, the flux rope observed in situ. The SECCHI images reveal that the leading loop-like structure propagated faster than the V-shaped structure, and a decrease in in situ CME speed occurred during the passage of the flux rope.We interpret this as the result of the continuous radial expansion of the flux rope as it progressed outward through the interplanetary medium. An expansion speed in the radial direction of ~30 km s-1 is obtained directly from the SECCHI-HI images and is in agreement with the difference in speed of the two structures observed in situ. This paper shows that the flux rope location can be determined from white light images, which could have important space weather applications.