- 07407736753
- Artistic Research, Artistic Research of Music, Arts-Based Research, Arts-Based Educational Research, Visual Methodologies, Music and Language, and 49 moreMusic, Musicology, Music Education, Music History, Music analysis, Music and Politics, Literature and Music, Colour and Music, Philosophy of Psychology, Psychology of Music, Social Psychology, Art and Science, Contemporary Music, Contemporary Middle Eastern Music, Arabic music, Persian music, German Expressionism, Psychology, Education, Archaeology, Islam, Islamic Law, Islamic Education, Islamic Studies, Islamic Sciences, Islamic Psychology, Islamic Philosophy, Quranic and Islamic Studies, Arabic and Islamic Studies, Islamic Art, Islamic law and jurisprudence, Islamic Social Sciences, Islamic' Architecture, Islamic Geometry, Islamic Music, Music in Islamic contexts, Islamic popular music, Islamic Science of Music, Sufi Music, Islam, Sufism, Islamic music, islamic rap music, Philosophy, Sociology, Physics, Philosophy of Science, International Law, Political Philosophy, Research Methodology, and Languages and Linguistics(Music, Musicology, Music Education, Music History, Music analysis, Music and Politics, Literature and Music, Colour and Music, Philosophy of Psychology, Psychology of Music, Social Psychology, Art and Science, Contemporary Music, Contemporary Middle Eastern Music, Arabic music, Persian music, German Expressionism, Psychology, Education, Archaeology, Islam, Islamic Law, Islamic Education, Islamic Studies, Islamic Sciences, Islamic Psychology, Islamic Philosophy, Quranic and Islamic Studies, Arabic and Islamic Studies, Islamic Art, Islamic law and jurisprudence, Islamic Social Sciences, Islamic' Architecture, Islamic Geometry, Islamic Music, Music in Islamic contexts, Islamic popular music, Islamic Science of Music, Sufi Music, Islam, Sufism, Islamic music, islamic rap music, Philosophy, Sociology, Physics, Philosophy of Science, International Law, Political Philosophy, Research Methodology, and Languages and Linguistics)edit
- Julia Ana Katarina is an English German mezzo-soprano, oud player and cellist who taught music for nearly 4 years in ... moreJulia Ana Katarina is an English German mezzo-soprano, oud player and cellist who taught music for nearly 4 years in Palestine. There she taught singing, both Western classical repertoire and Arabic song, cello and music theory at music schools and centres around the country and also taught voice at The Freedom Theatre. Previously she co-founded and toured with a chamber opera company in Britain, singing the title role in a fully staged production of Gluck’s Orfeo ed Eurydice. Julia has completed three opera courses, including a Diploma at Birkbeck College, University of London. More recently, she has been learning to play Qawwali, Persian and Arabic music on the cello, as well as to accompany her Arabic singing with the cello and the oud. She regularly plays cello and oud and sings at arts events, conferences, multicultural and Sufi festivals and weddings, usually alternating between instruments, cultures and repertoires within a single engagement. Since Returning from Palestine in 2012 Julia has completed an MSc in Applied Music Psychology at the University of Roehampton, where she conducted quantitative experimental research into the perceptual connections between music and colour, as well as giving many recitals and performing the role of Hansel in the university’s first ever fully staged opera production. After graduating, she worked for Palestinian charity, Open Bethlehem, co-ordinating the national release of the documentary film or the same title. In January 2016 Julia started her social enterprise, UnityMusicموسيقى توحيد, giving concerts and workshops diaspora communities in Britain, Germany and Greece, where she also worked for Save the Children. She collaborated with the Amos Trust on their Just Walk to Jerusalem, playing music in refugee camps in Greece Palestine and Lebanon. Julia had now completed her MA in Islamic Law at the Islamic College of Advanced Studies, Middlesex University and is planning to continue with traditional Hawza seminary studies and a PhD in Islamic Music inshAllah(Julia Ana Katarina is an English German mezzo-soprano, oud player and cellist who taught music for nearly 4 years in Palestine. There she taught singing, both Western classical repertoire and Arabic song, cello and music theory at music schools and centres around the country and also taught voice at The Freedom Theatre. Previously she co-founded and toured with a chamber opera company in Britain, singing the title role in a fully staged production of Gluck’s Orfeo ed Eurydice. Julia has completed three opera courses, including a Diploma at Birkbeck College, University of London. More recently, she has been learning to play Qawwali, Persian and Arabic music on the cello, as well as to accompany her Arabic singing with the cello and the oud. She regularly plays cello and oud and sings at arts events, conferences, multicultural and Sufi festivals and weddings, usually alternating between instruments, cultures and repertoires within a single engagement. Since Returning from Palestine in 2012 Julia has completed an MSc in Applied Music Psychology at the University of Roehampton, where she conducted quantitative experimental research into the perceptual connections between music and colour, as well as giving many recitals and performing the role of Hansel in the university’s first ever fully staged opera production. After graduating, she worked for Palestinian charity, Open Bethlehem, co-ordinating the national release of the documentary film or the same title. In January 2016 Julia started her social enterprise, UnityMusicموسيقى توحيد, giving concerts and workshops diaspora communities in Britain, Germany and Greece, where she also worked for Save the Children. She collaborated with the Amos Trust on their Just Walk to Jerusalem, playing music in refugee camps in Greece Palestine and Lebanon. Julia had now completed her MA in Islamic Law at the Islamic College of Advanced Studies, Middlesex University and is planning to continue with traditional Hawza seminary studies and a PhD in Islamic Music inshAllah)edit
The Pillars of Islam (Gumley, & Redhead, 1990), particularly the five main Pillars from a Sunni perspective (Hussain, 2012), of Shahada ~ witnessing the Unity of God and the final Prophethood of Muhammad (PBuh); Salah ~ prayer, five daily... more
The Pillars of Islam (Gumley, & Redhead, 1990), particularly the five main Pillars from a Sunni perspective (Hussain, 2012), of Shahada ~ witnessing the Unity of God and the final Prophethood of Muhammad (PBuh); Salah ~ prayer, five daily prayers; Siyam ~ fasting in Ramadan; Zakat ~ giving charity and Hajj ~ Pilgrimage to Mecca, are seen as basis of Islamic practice. They vary between sects, however, and rely upon the foundational six Pillars of Faith (Nuʿmān Ibn Muḥammad, 1974), the structure of which I learned from the Ibadiyya in Oman. They constitute faith in God and His Beneficence, the Spiritual Worlds and the Angels, all of the Prophets and their Messages and the Last Day of Resurrection. Although they make eleven in total, I nevertheless felt that they were only the starting point and that the practices, the five pillars, were really the bare minimum one was required to do in order to identify as Muslim. Indeed, many people do the bare minimum or even less than the Fard (obligatory) prayers and fasts, while some people choose to do more.
Research Interests: Islamic Education, Islamic Studies, Sufism, Islamic History, Islam, and 15 moreIsmailism, Ismaili thought, Tariqa Sufism, Shiite jurisprudence and its principles, Histori of Imami Shiism, philosophical Sufism (school of Ibn 'Arabi), History of Imami Shiism, Qadiriya, Shiism, Shiite Studies, Ismaili studies, Shiite Theology, Qadiriyya, Abdul Qadir Al-Jailani, and Abdul Qadir Jilani(Ismailism, Ismaili thought, Tariqa Sufism, Shiite jurisprudence and its principles, Histori of Imami Shiism, philosophical Sufism (school of Ibn 'Arabi), History of Imami Shiism, Qadiriya, Shiism, Shiite Studies, Ismaili studies, Shiite Theology, Qadiriyya, Abdul Qadir Al-Jailani, and Abdul Qadir Jilani)
(Ismailism, Ismaili thought, Tariqa Sufism, Shiite jurisprudence and its principles, Histori of Imami Shiism, philosophical Sufism (school of Ibn 'Arabi), History of Imami Shiism, Qadiriya, Shiism, Shiite Studies, Ismaili studies, Shiite Theology, Qadiriyya, Abdul Qadir Al-Jailani, and Abdul Qadir Jilani)
The Six Pillars of Faith (Zoud, 2020) are fairly universal in that most denominations within the fold of Islam adhere to them and there is an overlap between pillars of faith and practice within Imami doctrine, which will be discussed... more
The Six Pillars of Faith (Zoud, 2020) are fairly universal in that most denominations within the fold of Islam adhere to them and there is an overlap between pillars of faith and practice within Imami doctrine, which will be discussed later. In the Ibadi Sultan Qaboos Grand Mosque in Muscat the sheikh explained the 6 pillars as faith in Allah and His perfect attributes, belief in the spiritual world and its angels, the angels of Allah who are created to praise and serve Allah and can only act according to His Divine Will. Then there is belief in the 124,000 prophets sent by Allah and among them His 315 messengers, belief in their messages, the divinely inspired holy books, and faith in destiny and fate, as the fifth pillar of faith, and in the Last Day, Day of Reckoning, Day of Judgement, Day of Resurrection, or that Day, as it is variously referred to in the Qur’an some 5845 times, as well as in previous Holy Scriptures.
Research Interests: Islamic Law, Islamic Philosophy, Kalam (Islamic Theology), Islamic Education, Islamic Studies, and 12 moreSufism, Persianate Sufism, Islamic History, Islam, Contemporary Sufism, Tariqa Sufism, Islamic Theology, Islamic philosophy and theology, Quranic and Islamic Studies, philosophical Sufism (school of Ibn 'Arabi), Irfan, and Religius and Islamic Studies
عند التركيز على الاختلافات بين "الإستيلاء الثقافي" الإنتقائي لعناصر في بنية ثقافة ما ومفهوم "التثاقف"، الذي تقريباً قلما سمعنا به، بغرض تشذيب التعريف المصطلحي والتمايز بين المفردات، فإن ما يلفت انتباهي على الفور هو أخذ المستولين على... more
عند التركيز على الاختلافات بين "الإستيلاء الثقافي" الإنتقائي لعناصر في بنية ثقافة ما ومفهوم "التثاقف"، الذي تقريباً قلما سمعنا به، بغرض تشذيب التعريف المصطلحي والتمايز بين المفردات، فإن ما يلفت انتباهي على الفور هو أخذ المستولين على العناصر الثقافية بأجزاء من الثقافة الأخرى إلى خارج سياقها وأحيانًا بدون نسبتها إلى مصدرها أو الإشارة بتقدير إلى الثقافة المعنية، وهم يضفون الجوانب الجذابة فيها على سياقهم الثقافي الخاص أو يستغلونها تجاريًاً لتحقيق مكاسب شخصية خاصة بهم، دون أن يكون لها صلة حقيقية بالثقافة التي نشأت فيها. هذا من ناحية ، ومن ناحية أخرى، فإن جوهر التثاقف ، وفقاً لتجربتي الشخصية، هو الإنغمار في ثقافة ما على مدى عدة سنوات وقبول وتبني تقاليدها وعاداتها وأعرافها الاجتماعية وموسيقاها ولغتها ومطبخها وفنونها وحرفها. وقد يشمل أيضًا تصدير أو استيراد الأعمال اليدوية التراثية والفنية من ثقافة إلى ثقافة أخرى أو حتى المزج بين جوانب من التقاليد مع تقاليد الثقافية الأخرى ، ولكن دائمًا مع إشارة واضحة إلى الثقافات الأصلية والعلاقة الودية الأساسية والرابطة الوثيقة بالثقافات المتمثلة.
Research Interests: Cultural Studies, Social Theory, Media and Cultural Studies, Self and Identity, Social and Cultural Anthropology, and 14 moreIdentity (Culture), Cross-Cultural Studies, Cultural Identity, Social History, Intellectual and cultural history, Acculturation, International political sociology, Identity, Arabic Culture, Contemporary Arabic Studies, Acculturation and cultural identity, Arabic language and culture, Cultural appropriation, Culture/transculture Studies, and Acculturation Theory(Identity (Culture), Cross-Cultural Studies, Cultural Identity, Social History, Intellectual and cultural history, Acculturation, International political sociology, Identity, Arabic Culture, Contemporary Arabic Studies, Acculturation and cultural identity, Arabic language and culture, Cultural appropriation, Culture/transculture Studies, and Acculturation Theory)
(Identity (Culture), Cross-Cultural Studies, Cultural Identity, Social History, Intellectual and cultural history, Acculturation, International political sociology, Identity, Arabic Culture, Contemporary Arabic Studies, Acculturation and cultural identity, Arabic language and culture, Cultural appropriation, Culture/transculture Studies, and Acculturation Theory)
Focusing on the differences between the topical cultural appropriation and the almost unheard of concept of acculturation, towards refining definition and differentiation, what is immediately striking to me is that on the one hand... more
Focusing on the differences between the topical cultural appropriation and the almost unheard of concept of acculturation, towards refining definition and differentiation, what is immediately striking to me is that on the one hand cultural appropriators take pieces of another culture out of context and sometimes without credit or respectful reference to the culture in question and apply the appealing aspects to their own cultural context or exploit them commercially for their own personal gain, without having a true connection with the culture which originated them. On the other hand, acculturation is, in my experience, an immersion in a culture over several years and an acceptance and adoption of its traditions, customs, social norms, music, language, cuisine and arts and crafts as a coherent whole. It may also involve the equal exchange of cultural artefacts or a meeting or even mixing of aspects with other cultural traditions, but always with a clear reference to the originating cultures and underlying love relationship and inseverable bond with the cultures represented.
Research Interests: Multiculturalism, Social Identity, Identity (Culture), Cultural Identity, Multicultural Psychology, and 8 moreAcculturation, Cultural Diversity, Identity construction and cultural production, Multiculturalism (Sociology), The Politics of Identity, the Politics of Recognition, Multiculturalism, Education and Cultural Heritage, Political Identity, and Cultural appropriation
What I would like to look at in this essay is an aspect of the sectarian divide between Shi’a and Sunna, related to family law and to my chosen subject of Mut’ah, temporary marriage, which exists within Shia’i jurisprudence. It is an... more
What I would like to look at in this essay is an aspect of the sectarian divide between Shi’a and Sunna, related to family law and to my chosen subject of Mut’ah, temporary marriage, which exists within Shia’i jurisprudence. It is an area which attracts intense criticism, to the point of outright judgment from the Sunni community, as well as from non-Muslims who are aware of it in theory, or of practices related to it. As critical as the Sunni community tend to be, generally speaking, of the Shia’i community, and vice versa, there are certain aspects of their jurisprudence which they seem to inadvertently adopt or perhaps there is not as much divergence as is perceived. The subject they are most critical of in Shia’i jurisprudence is temporary marriage or ‘pleasure marriage', as some call it.
There are all kinds of stories within the Sunni community about different types of temporary marriage within Shia’i practice and, as well as eliciting disapproval or even outrage, there is also, in some cases, an obvious element of envy. Members of both Ibadi and Sunni communities seem to try and find similar loopholes in their own laws, or even imply that Mut’ah is equally applicable to all their schools of jurisprudence. I've heard stories in Palestine, for example of ‘kissing marriage’ or people getting married for 24 hours or less, for a few days, a few weeks or a few months. There seem to be many different kinds of marriage, depending on circumstances and personal agenda and, equally, many different terms for similar kinds of arrangements, depending on context and how they are justified. One question raised is whether it is always by mutual, informed consent.
There are all kinds of stories within the Sunni community about different types of temporary marriage within Shia’i practice and, as well as eliciting disapproval or even outrage, there is also, in some cases, an obvious element of envy. Members of both Ibadi and Sunni communities seem to try and find similar loopholes in their own laws, or even imply that Mut’ah is equally applicable to all their schools of jurisprudence. I've heard stories in Palestine, for example of ‘kissing marriage’ or people getting married for 24 hours or less, for a few days, a few weeks or a few months. There seem to be many different kinds of marriage, depending on circumstances and personal agenda and, equally, many different terms for similar kinds of arrangements, depending on context and how they are justified. One question raised is whether it is always by mutual, informed consent.
Research Interests: Islamic Studies, Principles of Islamic Jurisprudence (Usul al-Fiqh), termination of an Islamic marriage, Islamic marriage requirements, Islamic law and jurisprudence, and 6 moreIslamic Marriage Contracts, Islamic Marriage, Terms associated with Islamic marriage Contracts, Islamic Marriage Law, Mutaa temporary marria, and Flexible marriage in Shia Jurisprudence
Research Interests:
Research Interests:
Adorno's critique of popular culture is probably more relevant now than it ever has been. The situation of music in society has deteriorated much as he may have predicted in 1932, but is it quite likely that it has gone further than he... more
Adorno's critique of popular culture is probably more relevant now than it ever has been. The situation of music in society has deteriorated much as he may have predicted in 1932, but is it quite likely that it has gone further than he imagined possible, the standardisation, institutionalisation and superficiality of Western popular music and its anaesthetising effects (Adorno, 1941) reaching across cultural and geopolitical boundaries. In this age of information and globalisation it is possible to access almost any music, literature or statistical or historic data from virtually any country via the electronic collective consciousness of the internet. The immortal words of Winston Churchill that 'history is written by the victors' may still ring true today to the extent that the official version of events may be endorsed by the dominant powers, but which version of current political developments will eventually end up in the history books is an open question. In the case of Israel and Palestine, some considerable revisions may have been made on both sides of the wall (Peled-Elhanan, 2012; Said, 2004).
Research Interests: Music, Popular Music Studies, Popular Music, Middle East Studies, Cultural Heritage, and 13 morePopular Culture, Theodor Adorno, Identity (Culture), Politics, Palestine, Culture, Apartheid, Edward Said, Current Affairs, Popular Music and Culture, Oppression, Military Occupation, and cultural occupation
This essay will explore the idea of introducing robots into places of worship (BBC News 2020) with the intention of replacing human clergy with machines offering religious advice and spiritual leadership. This is highly problematic for a... more
This essay will explore the idea of introducing robots into places of worship (BBC News 2020) with the intention of replacing human clergy with machines offering religious advice and spiritual leadership. This is highly problematic for a number of reasons, the most important being the martyrdoms of many Imams, including the family of the Prophet (PBuH) to the cause of preserving the true divine guidance (Shomali, 2022). The BBC documentary opens with the bold claim that AI enables computers to think like humans. The question put to the featured faith leaders was if they were worried about being replaced by machines, to which they unanimously and unanimously answered in the negative, on the basis that a machine does not have a soul. So what is the soul and why is it necessary for performing religious rituals? (Aminrazavi, 2016) What else distinguishes humans from machines? How do Muslims view this and to what extent are these technologies already in the prayer space?
Research Interests:
In this study an attempt will be made to present some examples of the sometimes overlooked historical context of sources and their implications on the integrity of the Muslim community and the relevance and reliability of its various... more
In this study an attempt will be made to present some examples of the sometimes overlooked historical context of sources and their implications on the integrity of the Muslim community and the relevance and reliability of its various doctrines in current contexts. The positive and negative effects of the general availability of key texts from most main and marginal schools of Islamic Jurisprudence on the global community will be examined, especially in light of controversy over Ḥadith fabrication (Fawwaz, 2018; Shahīd al-Thānī & al-Faḍlī, 2002; Usman & Wazir, 2018), even in so-called ṣaḥiḥ (True) collections in the most widely used Sunni collections, particularly Bukhari (2021; Milani, 2021). Reasons for the discrediting of some Ḥadith (al-Shahrazūrī et al., 2005; Ismail et al., 2014) including minority sources will also be discussed, namely Shiᶜi and Ibāḍi collections, and the meaning of some of the terminology will be analysed and recommendations for a more unifying approach suggested.
Research Interests: Islamic Law, Islamic Education, Islamic Studies, Hadith Studies, Islamic History, and 10 moreIslamic Jurisprudence, Critical thinking in Islamic Jurisprudence, Principles of Islamic Jurisprudence (Usul al-Fiqh), o Fabricated hadiths used in Fiqh literature, Islamic Classical Jurisprudence (fiqh), Hadith, Islamic law and jurisprudence, Hadith Forgery, Fabricated hadith, and Islamic Unity
Expectancy in music has been the subject of scholarship for the last century and of empirical study for around three decades, although its principals seem to have been understood by composers for many centuries. With the reduction and... more
Expectancy in music has been the subject of scholarship for the last century and of empirical study for around three decades, although its principals seem to have been understood by composers for many centuries. With the reduction and simplification of multilayered polyphonic complexities into Baroque form, music became grounded and structured into a much more ordered and functional form. This was further consolidated in the classical period by rigid structures and patterns of a more predictable nature, establishing rather fixed parameters of acceptability in terms of rhythm, harmony and melody. An example of this is the move away from the complex dance rhythms of the Baroque, reducing favoured meters from 12 and 8 to 4, 3 and 2. Late Beethoven shook up these solid foundations and started to complicate matters, which the Romantic movement complicated further, but it was through the immense harmonic complexities of late romantic Expressionism that form was eventually broken down to a vastly simplified linear structure by Schoenberg and his 12 tone technique (Gould, 1984).
Research Interests:
A mixed methods survey of views held within the Muslim community by clerics and practicing Muslims from Ibadi, Shi’i and Sunni backgrounds, as well as a hermeneutical study compared seven Madhahib (denominations), the Ibadi, Ja'fari,... more
A mixed methods survey of views held within the Muslim community by clerics and practicing Muslims from Ibadi, Shi’i and Sunni backgrounds, as well as a hermeneutical study compared seven Madhahib (denominations), the Ibadi, Ja'fari, Hanafi, Maliki, Shafi'i, Hanbali and Nizari Ismaili Schools, in terms of their initial and prevailing attitudes and current rulings on the subject. This took the form of an online questionnaire to determine attitudes of Muslim laity across cultures and schools of thought, and semi-structured interviews of Ibadi, Shi’i and Sunni scholars. This was to ascertain from where the ideas originated, how they have evolved in various contexts, how they are applied now and how they affect the community and its relationship with them, in diverse environments and with neighbouring and overlapping communities. This may open further research on how future generations are likely to be affected, as well as possible effects on Islamic Arts and Sciences.
Research Interests: Islamic Law, Music, Islamic Studies, Islamic History, Islam, and 15 moreSacred Music, Islamic Jurisprudence, Classical Music, Islamic History and Muslim Civilization, Shariah, Singing, Ijtihad, Islamic Classical Jurisprudence (fiqh), Quranic and Islamic Studies, Fatwa and Islamic Shariah Law, Quranic Recitation, Fatwa, Islamic Scholarly Tradition, Islamic law and jurisprudence, and Nasheed(Sacred Music, Islamic Jurisprudence, Classical Music, Islamic History and Muslim Civilization, Shariah, Singing, Ijtihad, Islamic Classical Jurisprudence (fiqh), Quranic and Islamic Studies, Fatwa and Islamic Shariah Law, Quranic Recitation, Fatwa, Islamic Scholarly Tradition, Islamic law and jurisprudence, and Nasheed)
(Sacred Music, Islamic Jurisprudence, Classical Music, Islamic History and Muslim Civilization, Shariah, Singing, Ijtihad, Islamic Classical Jurisprudence (fiqh), Quranic and Islamic Studies, Fatwa and Islamic Shariah Law, Quranic Recitation, Fatwa, Islamic Scholarly Tradition, Islamic law and jurisprudence, and Nasheed)
A forced choice paradigm was employed, similar to that of a recent experiment conducted by Hubbard (1996) using paired greyscale patches and pitch intervals, which provided evidence of a universal mapping of lightness value relative to... more
A forced choice paradigm was employed, similar to that of a recent experiment conducted by Hubbard (1996) using paired greyscale patches and pitch intervals, which provided evidence of a universal mapping of lightness value relative to pitch height. In the current experiment we used colour, instead of greyscale, and tonal intervals within the normal vocal and instrumental midrange. 40 participants chose between colour combinations derived from two models of pitchcolour correspondence in response to intervals and dyads from all 48 major and minor keys in the cycle of 5ths. Analyses revealed a tendency to map adjacent colours onto close intervals and relate spectrally distant colours to larger intervals, particularly amongst those with musical training, but also among participants with training in visual arts. This experiment provides evidence of a perceptual analogy between pitch and colour relationships, as well as some support for the traditional linear model of pitch-colour correspondence.
Research Interests: Experimental Psychology, Music, Music Education, Music Theory, Music Technology, and 21 moreColour Science, Colour Vision, Synaesthesia, Music Psychology, History of Science, Sociology of Music, Colour Theory, Experimental Physics, Artistic Research, Goethean Science, Experimental Research, Artistic Research of Music, Colour and Light, Isaac Newton, Color Psychology and Use of Colour, Colour, Musical Analysis, Natural Intervals Pythagorean Harmony, 12 Tone Equal Temperament, Synaesthesic Art, and Music colour synaesthesia(Colour Science, Colour Vision, Synaesthesia, Music Psychology, History of Science, Sociology of Music, Colour Theory, Experimental Physics, Artistic Research, Goethean Science, Experimental Research, Artistic Research of Music, Colour and Light, Isaac Newton, Color Psychology and Use of Colour, Colour, Musical Analysis, Natural Intervals Pythagorean Harmony, 12 Tone Equal Temperament, Synaesthesic Art, and Music colour synaesthesia)
(Colour Science, Colour Vision, Synaesthesia, Music Psychology, History of Science, Sociology of Music, Colour Theory, Experimental Physics, Artistic Research, Goethean Science, Experimental Research, Artistic Research of Music, Colour and Light, Isaac Newton, Color Psychology and Use of Colour, Colour, Musical Analysis, Natural Intervals Pythagorean Harmony, 12 Tone Equal Temperament, Synaesthesic Art, and Music colour synaesthesia)