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Mononen, Sini. "Epäilyksen musiikki ja anteeksiannon montaasi." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 2-3 (September 8, 2021): 42–56. http://dx.doi.org/10.23994/lk.111160.
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Artikkeli käsittelee yhteisön affektiivista kuvaa nordic noir -televisiosarjan Kaikki synnit (ohj. Mika Ronkainen) musiikissa. Nordic noirin lajityyppiin kuuluu keskeisenä affektina epäilys. Artikkelissa tarkastellaan sarjan keskeistä teemaa, anteeksiantoa, epäilyksien affektiivisena vastinparina.Sarjan tarinamaailma sijoittuu fiktiiviseen pohjoispohjanmaalaiseen Varjakan kuntaan, jonka valtaväestö on vanhoillislestadiolaista. Nordic noirille lajityypilliseen tapaan sarjan tarina nousee ajankohtaisesta yhteiskunnallisesta kysymyksestä, joka Kaikki synnit -televisiosarjassa on sukupuolittunut väkivalta ja seksuaalinen häirintä. Sarjan analyysin teoreettisena viitekehyksenä on 2000-luvun affektiteoria, jossa affektiivisuus ymmärretään kulttuurissa ja yhteiskunnassa syntyneenä.Kaikki synnit -televisiosarjan musiikki hyödyntää affektiivisuutta keskeisenä katsomiskokemusta ja tarinaa jäsentävänä tekijänä. Sarjan tarinamaailmassa yhteisön affektiivisuus näyttäytyy sidoksina ja katkoksina, jota musiikki ilmentää. Sarjaa tarkastellaan artikkelissa feministisen estetiikan valossa: yksiselitteisen väkivallan toistamisen sijaan sarja pyrkii kohti kerrontaa, jossa tarinan päätepisteenä ei ole kosto vaan sovinto menneisyyden kanssa.Avainsanat: Kaikki synnit, nordic noir, televisiosarjan musiikki, affekti, seksuaalinen häirintä, feministinen estetiikkaThe Music of suspicion and the montage of forgiveness: music as an affective image of the community in the television series Kaikki synnitThis article discusses the affective representation of the community in the music of the Nordic noir TV series Kaikki synnit (dir. Mika Ronkainen). The genre of Nordic Noir includes suspicion as a key affect. The article looks at the central theme of Kaikki synnit, forgiveness, as an affective counterpart of suspicion.The story world of the series is set in the fictional North Ostrobothnian town of Varjakka, where the majority of the population are conservative Laestadians. For Nordic noir, in a genre-specific way, the story of the series arises from a topical sociopolitical issue, which in the TV series Kaikki synnit is gendered violence and sexual harassment. The theoretical background of the analysis of the series is formed by recent affect theory, where affect is understood as a social and cultural phenomenon.The music in Kaikki synnit TV series draws on affect as a key factor in the viewing experience. In the story world of the series, the affectiveness of the community is represented as bonds and breaks, which is echoed in the music of the series. The series is viewed in light of feminist aesthetics: instead of repeating unambiguous violence, the series tends toward narration where the end point of the story is not revenge but reconciliation with the past.Keywords: Kaikki synnit, Nordic Noir, music in television series, affect, sexual harassment, feminist aesthetics
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Trevarthen, Colwyn. "Embodied Human Intersubjectivity: Imaginative Agency, To Share Meaning." Cognitive Semiotics 4, no. 1 (August 1, 2012): 6–56. http://dx.doi.org/10.1515/cogsem.2012.4.1.6.
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Abstract Human beings move coherently as individual selves, body and mind adapted to perform complex activities with imagination, knowledge, and skill; perceiving the environment by engaging it with discrimination and care. Human beings live intersubjectively in communitiesl each with the rituals, beliefs, and language of a culture, along with a history of affective relationships and agreed habits for acting in cooperation. These attachments and cultural habits depend upon an ability to sense the intentions, interests, and feelings of other human selves through sympathetic response to motives and emotions as displayed in the shapes and rhythms of body movement: an ability that infants possess from birth. No brain theory explains this ‘felt immediacy’ of others’ life experience, which philosophers of the Scottish Enlightenment accepted as proof that human beings are ‘innately sympathetic’. An innate time sense, capacity to ‘attune’ to the dynamics of body movement, and ability to recognise serial ordering in ‘stories’ all appear essential. A theory of ‘communicative musicality’ employs key parameters of pulse, quality of movement, and narrative, applying them to poetry, music, dance, the prosody and rhetoric of language, and the regulation of skillful practices of all kinds. These elements - present in foetal movements and engaged in through joyful intersubjective ‘story-telling’ from birth - give direct information on how the human brain orchestrates reflex functions to move the body with sensations of grace and efficiency. Their age-related development leads to mastery of language and cultural rituals. They conduct all cognitive functions and all meaning making.
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Nærland, Torgeir Uberg. "Rhythm, rhyme and reason: hip hop expressivity as political discourse." Popular Music 33, no. 3 (August 28, 2014): 473–91. http://dx.doi.org/10.1017/s0261143014000361.
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AbstractUsing Norwegian hip hop as an example, this article argues that public sphere theory offers a fruitful theoretical framework in which to understand the political significance of music. Based on a musical and lyrical analysis of Lars Vaular's ‘Kem Skjøt Siv Jensen’ (Who Shot Siv Jensen) – a song that recently became the subject of extensive public political discourse in Norway – this article first highlights how the aesthetic language specific to hip hop music constitutes a form of political discourse that may be particularly effective in addressing and engaging publics. Further, the analysis brings attention to how hip hop music is characterised by phatic, rhetoric, affective and dramatic modes of communication that may be of value to democratic public discourse. Lastly, this article examines the expressive output of ‘Kem Skjøt Siv Jensen’ in light of Habermas' concept of communicative rationality. In conclusion, the article contends that the dichotomy between (‘rational’) verbal argument and (‘irrational’) musical expressivity constructed within public sphere theory is contrived and, moreover, that hip hop expressivity under certain conditions does conform to the standards of communicative rationality.
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Rehding, Alexander. "Three Music-Theory Lessons." Journal of the Royal Musical Association 141, no. 2 (2016): 251–82. http://dx.doi.org/10.1080/02690403.2016.1216025.
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AbstractThis article is an attempt to understand music theory from the perspective of written and sounding media. It examines three radically different music-theoretical practices, which operate with different forms of written notation and different musical instruments, and have surprisingly different purposes in mind: the monochord-based theory of Franchinus Gaffurius (1518), the siren-based theory of Wilhelm Opelt (1834) and the piano-and-score-based theory commonly practised in our age. The instruments used in these three music theories hold the key to a fuller understanding: they can be understood as ‘epistemic things’ – that is, in producing sounds, these objects simultaneously produce knowledge about music. From a media-archaeological perspective, I suggest, these three music-theoretical practices stand emblematically for Pythagorean, digital and textual approaches to music.
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Choi, Won-seon. "Modal and Major-Minor Key Theory in Seventeenth Century Music." Yonsei Music Research 6 (December 31, 1999): 221–49. http://dx.doi.org/10.16940/ymr.1999.6.221.
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COHEN, HARVEY G. "Recent Music History Scholarship: Pleasures and Drawbacks." Journal of American Studies 49, no. 2 (May 2015): 405–12. http://dx.doi.org/10.1017/s0021875815000146.
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We academics who write about music, something often eminently enjoyable, are privileged people. It doesn't mean that we sit around spending an inordinate amount of time grooving to various recordings, although this kind of activity is not unknown to exist. Many historians fall in love with their subject matter to some extent, while keeping a sense of impartiality in their work, but perhaps with music this affection is easier to cultivate compared to other subjects. During my two decades in academia, I have noticed that some seem to want to justify their working in such a field by infusing their writing with impenetrable jargon and theory known only to a few hundred fellow travellers, making the research they publish largely indecipherable to the general reading public. It's as if they're intimating that there must be an existential price to pay for daring to write about a subject that some (incorrectly) see as only pleasurable, that obfuscation needs to be applied to make work about music seem sufficiently serious for academics to justify doing it.
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Sun, Jiayin, Haifeng Li, and Lin Ma. "A music key detection method based on pitch class distribution theory." International Journal of Knowledge-based and Intelligent Engineering Systems 15, no. 3 (June 17, 2011): 165–75. http://dx.doi.org/10.3233/kes-2011-0219.
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Swinkin, Jeffrey. "About a Key." Journal of Musicology 34, no. 4 (2017): 515–58. http://dx.doi.org/10.1525/jm.2017.34.4.515.
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In the sonata practice of the mid-eighteenth century, composers frequently asserted the minor dominant prior to the major dominant in the second part of the exposition. Beethoven dramatized this technique in two senses: first, he used it after it had largely fallen out of fashion, thus affording it considerable dramatic impact (e.g., Piano Sonatas Ops. 2, no. 2, and no. 3); second, he graduated from using the “wrong” mode to the more radical technique of using the “wrong” key. For instance, for the secondary key of the Piano Sonatas Ops. 31, no. 1, and 53 (“Waldstein”), he substitutes the major mediant for the dominant. These and similar cases result in the deferred arrival of the tonic in the secondary theme of the recapitulation. Consequently, when the tonic belatedly arrives, the listener is more cognizant of it. In this way Beethoven brings the resolution of large-scale tonal dissonance to the fore. I suggest that such a tactic is metamusical—that Beethoven was in a sense writing music about music, about the relationship between a particular piece and the tonal and formal conventions it relies on and also problematizes. After presenting a number of such metamusical instances, this article traces the stages by which Beethoven “progressed” from the mid-eighteenth-century approach to sonata expositions to his more radical one; it then offers a typology of key-problematizing techniques. It concludes by briefly considering the extent to which these procedures can be squared with Schenkerian theory and its ideal of structural hearing.
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Puffett, Derrick. "Webern's Wrong Key-Signature." Tempo, no. 199 (January 1997): 21–28. http://dx.doi.org/10.1017/s0040298200005568.
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The attribution of influence in music – usually, the influence of one composer on another – is a notoriously slippery business, one whose results are apt to seem arbitrary and impressionistic. Recently musicologists, inspired by the example of Harold Bloom in literature (The Anxiety of Influence, 1973, and several subsequent works) have tried to make the study of influence more rigorous. This has sometimes meant the setting up of a formidable theoretical apparatus, the complexity of which can make one lose sight of the simplicity of the musical relationships involved. The pursuit of theory easily becomes an end in itself: as one commentator has observed, references to Bloom, in such discussions, have now become more or less de rigueur, with authors rushing to demonstrate their familiarity with misprision, revisionary ratios and other Bloomian categories. As will be apparent, I am not primarily interested in influence as a matter of anxiety: influence when it shows itself is usually obvious enough (by which I mean obvious to the ear), and the obviousness of the connexion tends to make it uninteresting and further discussion redundant.
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Taddie, Daniel. "Solmization, Scale, and Key in Nineteenth-Century Four-Shape Tunebooks: Theory and Practice." American Music 14, no. 1 (1996): 42. http://dx.doi.org/10.2307/3052458.
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Meikle, George. "ScreenPlay: A topic-theory-inspired interactive system." Organised Sound 25, no. 1 (March 4, 2020): 89–105. http://dx.doi.org/10.1017/s1355771819000499.
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ScreenPlay is a unique interactive computer music system (ICMS) that draws upon various computational styles from within the field of human–computer interaction (HCI) in music, allowing it to transcend the socially contextual boundaries that separate different approaches to ICMS design and implementation, as well as the overarching spheres of experimental/academic and popular electronic musics. A key aspect of ScreenPlay’s design in achieving this is the novel inclusion of topic theory, which also enables ScreenPlay to bridge a gap spanning both time and genre between Classical/Romantic era music and contemporary electronic music; providing new and creative insights into the subject of topic theory and its potential for reappropriation within the sonic arts.
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Guez, Jonathan. "Toward a Theory of Recapitulatory Tonal Alterations." Journal of Music Theory 63, no. 2 (October 1, 2019): 209–29. http://dx.doi.org/10.1215/00222909-7795269.
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Despite differences in critical alignment, epistemological underpinnings, and reportorial coverage, studies of sonata forms nevertheless tend to share one feature: they devote the least amount of space to recapitulations. Two presuppositions might explain this neglect: (1) the recapitulation is an exact (or near-exact) restatement of the exposition’s thematic materials, and (2) it takes but one tonal alteration (or “adjustment”) of these materials to make a recapitulation conclude in the key in which it began. This article aims to examine the second of these presuppositions in hopes of painting a more complete and analytically adequate picture of actual practices. Its goals are, first, to give an idea of the range of strategies available to composers of the eighteenth and nineteenth centuries and, second, to show how familiarity with these strategies can open a space for new interpretations of formal drama and the plotting of narrative. The central analytic section of the article presents a taxonomy of six compositional strategies for making tonal alterations: alterations in silence, immediate alterations, thick alterations, multiple alterations, alterations without adjustment, and self-effacing alterations.
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Misto, Riccardo. "Therapeutic Musical Scales: Theory and Practice." OBM Integrative and Complementary Medicine 06, no. 02 (November 19, 2020): 1. http://dx.doi.org/10.21926/obm.icm.2102019.
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Using musical scales in a therapeutic key is one of the fundamental music therapy techniques of the Yoga of Sound (Nāda Yoga). The practice consists of singing particular sound formulas (scales), which are devised on a logical mathematical basis formed by specific musical intervals. These scales can bring to the surface, in a clear (objective), recognizable, and predictable way, psycho-emotional states and transform the blocked emotional energies. These blocked emotional energies are caused by repeated emotional stress, which, according to the psychosomatic principle, is the main cause of the physical and mental problems and pathologies. In this article, the fundamental principles of this music therapy, in theory and practice, are uncovered and analyzed.
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Swain, Joseph P. "Music Perception and Musical Communities." Music Perception 11, no. 3 (1994): 307–20. http://dx.doi.org/10.2307/40285625.
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Should certain negative results cause music theory to abandon its dependence on perception studies for the corroboration of its key principles? Recent experiments in music perception that have failed to confirm certain important principles of music theory are reviewed from the perspective of musical communities. A musical community is defined to be those listeners for whom a given musical perception is real and useful. It is argued that (1) the significance of experimental results should be interpreted not only according to traditional criteria of statistical significance but also according to the status of relevant musical communities; (2) a perceptual object that is real for only a small minority of listeners may yet be deemed significant if that minority performs some crucial activity in the musical culture; (3) important perceptual objects can be explicitly taught by advanced musical communities; (4) although this perspective calls into question the objectivity of theoretical principles, music theory must continue to incorporate the results of experiments in music perception.
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Liu, Jau. "An Integrative Conceptual Framework for Sustainable Successions in Family Businesses: The Case of Taiwan." Sustainability 10, no. 10 (October 12, 2018): 3656. http://dx.doi.org/10.3390/su10103656.
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Family businesses have long been one of the mainstream business models in developing countries. The smooth succession of control in family businesses is the key to their sustainable development. However, compared with other companies, succession in family business has demonstrated unique complexity, which also affects the development of the business. The paper is based on a review of the existing literature, starting from the theory of family business succession and combining with grounded theory. After that, we conducted field interviews of experts, coding the key factors affecting succession in family businesses in Taiwan. Finally, we explored the considerations and implications of the succession for inheritance planning. The results of this study show that consideration of succession in family businesses involves a multi-dimensional and complex decision-making process. Among the key considerations, it is found that corporate characteristics, family capital and niche inheritance are the most important without consideration of whether the continuation of the business after succession will be doomed to failure. In addition, the family relationship of affection and trust and commitment between both predecessor and successor are important factors that cannot be ignored, especially in a rapidly changing competitive market environment.
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Jørgensen, Harald. "Instrumental learning: is an early start a key to success?" British Journal of Music Education 18, no. 3 (October 26, 2001): 227–39. http://dx.doi.org/10.1017/s0265051701000328.
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The question of when it is convenient to start with vocal and instrumental lessons is a much-debated issue. This article studies a group of conservatoire students and looks at the relationship between their current level of vocal and instrumental performance and the age when they started formal lessons. It concludes that, for the whole student population, those with highest grades started earlier. Looking at separate instruments, however, we see both a positive and a negative relationship between an early start and a high level of performance in the conservatoire. Additionally, there are large differences between students. The findings are discussed in the context of expertise theory.
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Moreno, Alberto. "ELEMENTS OF MUSIC BASED ON ARTIFICIAL INTELLIGENCE." Acta Informatica Malaysia 4, no. 2 (July 13, 2020): 30–32. http://dx.doi.org/10.26480/aim.02.2020.30.32.
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Thus, for the current status of research and practical music audio processing needs, this paper argues, the music element analysis technology is the key to this research field, and on this basis, proposes a new framework music processing – Music calculation system, the core objective is to study intelligently and automatically identifies various elements of music information and analyze the information used in constructing the music content, and intelligent retrieval method translated. To achieve the above core research objectives, the paper advocates will be closely integrated music theory and calculation methods, the promotion of integrated use of music theory, cognitive psychology, music, cognitive science, neuroscience, artificial intelligence, signal processing theory to solve the music signal analysis identify the problem.
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Firmino, ÉÉrico Artioli, Joséé Lino Oliveira Bueno, and Emmanuel Bigand. "Travelling Through Pitch Space Speeds up Musical Time." Music Perception 26, no. 3 (February 1, 2009): 205–9. http://dx.doi.org/10.1525/mp.2009.26.3.205.
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SEVERAL MODELS OF TIME ESTIMATION HAVE BEEN developed in psychology; a few have been applied to music. In the present study, we assess the influence of the distances travelled through pitch space on retrospective time estimation. Participants listened to an isochronous chord sequence of 20-s duration. They were unexpectedly asked to reproduce the time interval of the sequence. The harmonic structure of the stimulus was manipulated so that the sequence either remained in the same key (CC) or travelled through a closely related key (CFC) or distant key (CGbC). Estimated times were shortened when the sequence modulated to a very distant key. This finding is discussed in light of Lerdahl's Tonal Pitch Space Theory (2001), Firmino and Bueno's Expected Development Fraction Model (in press), and models of time estimation.
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Parncutt, Richard. "The Tonic as Triad: Key Profiles as Pitch Salience Profiles of Tonic Triads." Music Perception 28, no. 4 (April 1, 2011): 333–66. http://dx.doi.org/10.1525/mp.2011.28.4.333.
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Major and minor triads emerged in western music in the 13th to 15th centuries. From the 15th to the 17th centuries, they increasingly appeared as final sonorities. In the 17th century, music-theoretical concepts of sonority, root, and inversion emerged. I propose that since then, the primary perceptual reference in tonal music has been the tonic triad sonority (not the tonic tone or chroma) in an experiential (not physical or notational) representation. This thesis is consistent with the correlation between the key profiles of Krumhansl and Kessler (1982; here called chroma stability profiles) and the chroma salience profiles of tonic triads (after Parncutt, 1988). Chroma stability profiles also correlate with chroma prevalence profiles (of notes in the score), suggesting an implication-realization relationship between the chroma prevalence profile of a passage and the chroma salience profile of its tonic triad. Convergent evidence from psychoacoustics, music psychology, the history of composition, and the history of music theory suggests that the chroma salience profile of the tonic triad guided the historical emergence of major-minor tonality and continues to influence its perception today.
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Ran, Yongping, and Linsen Zhao. "Impoliteness Revisited: Evidence from Qingmian Threats in Chinese Interpersonal Conflicts." Journal of Politeness Research 15, no. 2 (July 26, 2019): 257–91. http://dx.doi.org/10.1515/pr-2017-0027.
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Abstract There is a growing consensus that (im)politeness is associated with participants’ situated evaluations vis-à-vis the moral order (Haugh 2013a, 2015b; Kádár and Haugh 2013). This paper focuses on impoliteness as evaluative practices underpinned by the moral order of qingmian (lit., affection-based face). Drawing on data from Chinese interpersonal conflicts, the study reveals that unmet renqing (favor) expectations and unmet mianzi/lian (face) expectations are often evaluated as qingmian threats by participants, and thereby cause conflicts and disharmony. Our analysis investigates three key issues: (1) qingmian threat as the cause of interpersonal conflicts, (2) cultural factors influencing expectations associated with ‘taking offence’ in Chinese and (3) the implications of qingmian threat for (im)politeness theory at the etic level.
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Hook, Julian. "Enharmonic systems: A theory of key signatures, enharmonic equivalence and diatonicism." Journal of Mathematics and Music 1, no. 2 (July 2007): 99–120. http://dx.doi.org/10.1080/17459730701374805.
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Chen, Meng, Cheng Long Wang, Qing Tian Zeng, and Hai Zhong Zhang. "Research and Application of Music Digitalization Based on MATLAB." Applied Mechanics and Materials 397-400 (September 2013): 2379–82. http://dx.doi.org/10.4028/www.scientific.net/amm.397-400.2379.
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Research and Application of Music Digitalization Based on MATLAB is introduced in this paper. Firstly, music theory and key technology of Music Digitalization based on MATLAB in the process are given. Secondly, an example is introduced to illustrate the process of music analysis and synthesis based on MATLAB. Finally, conclusions and Outlook are introduced.
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Curry, Ben. "Blues music theory and the songs of Robert Johnson: ladder, level and chromatic cycle." Popular Music 34, no. 2 (April 30, 2015): 245–73. http://dx.doi.org/10.1017/s0261143015000276.
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AbstractThe blues is a complex and subtle musical language that warrants careful analysis and sustained debate. There are legitimate concerns with the application of music-theoretical paradigms to blues music, but we should not allow such concerns to undermine all attempts to address the blues as a serious and coherently structured music. This paper explores the notions of ladder, level and chromatic cycle as an insightful set of theoretical tools in analysing the music of Robert Johnson. Key sources in developing this analytical approach are the scholarship of Gerhard Kubik and the spatially oriented analytical methods of neo-Riemannian theory. The notions of ladder, level and chromatic cycle are explored with close reference to Johnson's ‘Kindhearted Woman’ and through a more general consideration of the scale-degree content of his vocal parts.
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de Reizabal, Margarita Lorenzo, and Manuel Benito Gómez. "When theory and practice meet: Avenues for entrepreneurship education in music conservatories." International Journal of Music Education 38, no. 3 (May 3, 2020): 352–69. http://dx.doi.org/10.1177/0255761420919560.
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In the field of higher music education conservatories, and more specifically in the so-called ‘classical music’, the first steps towards research regarding entrepreneurship are being taken, although the main obstacles to overcome are still at a conceptual level (to define what is entrepreneurship in this field, what the profile of a musician entrepreneur is, what exactly is understood when we talk about an entrepreneurial identity referred to Western classical music) and on a referential level (research is scarce on the professional identity of classical musicians, on motivation that leads to professional success, on employability of a musician in the 21st century). At the same time, thought and analysis are lacking on how music education addresses entrepreneurial spirit and how conservatories for higher education in Western classical music could provide their students with the necessary capacities to become professional entrepreneurial musicians. This article aims to explore the state of entrepreneurship of classical musicians and analyse what challenges and barriers are found in particular in this subfield. In order to clarify the key concepts, the most relevant and recent literature in entrepreneurship education has been reviewed. Searching for avenues for entrepreneurship education in music conservatories, theory and practice have been merged by applying the literature findings to some practical considerations raised at the International Conference on Music Entrepreneurship recently held in The Hague, together with the personal experience in the specific context of higher music education conservatories.
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Diogo, Elisete, and Francisco Branco. "How Do People Become Foster Carers in Portugal? The Process of Building the Motivation." Social Sciences 8, no. 8 (August 1, 2019): 230. http://dx.doi.org/10.3390/socsci8080230.
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Act no. 142/2015 highlights the importance of children out-of-home being placed in a family context. However, foster care continues to be an almost absent component in the Portuguese childcare system. In 2017, it corresponded to just 3% of out-of-home care. This research aims to contribute to the understanding of the reasons for becoming a foster family. It adopted a qualitative approach, using carers’ narrative interviews and practitioners semi-structured interviews, inspired by grounded theory. Foster family motivation is rooted in altruism, affection for children and sensitivity to maltreatment. These factors, as well as personal life course and contact with out-of-home care, induce a predisposition to become a foster family. The quality of the support services and the care professionals’ performance also reveal key elements.
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Agmon, Eytan. "The Webern in Mozart: Systems of Chromatic Harmony and Their Twelve-Tone Content." Music Theory Spectrum 42, no. 2 (2020): 173–92. http://dx.doi.org/10.1093/mts/mtaa010.
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Abstract Toward the end of his 2012 book, Audacious Euphony, Richard Cohn asks, “how does music that is heard to be organized by diatonic tonality [as in the age of Mozart] become music that is heard to be organized in some other way [as in the age of Webern]”? In the present article, a theory different from Cohn’s is offered as answer. The theory’s three sub-theories, harmonic hierarchy, within-key chromaticism, and “solar” key distance, lead to a distinction between four types of harmonic systems: the strictly diatonic, the first- and second-order chromatic, and the restricted twelve-tone system. As its name implies, the latter harmonic system allows for twelve-tone levels, though under a restriction (termed Principle of Diatonic Fusion) that holds “the Webern in Mozart” in check.
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Curry, Ben. "Valency–Actuality–Meaning: A Peircean Semiotic Approach to Music." Journal of the Royal Musical Association 142, no. 2 (2017): 401–43. http://dx.doi.org/10.1080/02690403.2017.1361177.
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ABSTRACTPeircean semiotics has retained a place in the study of music for more than 40 years. Few studies, however, have focused upon arguably the most important aspects of Peirce's thought: his contribution to logic and his development of a pragmatic approach to epistemology. This article develops a theory of Peircean semiotics in music that is rigorously derived from the key insights Peirce offered to philosophy. It focuses upon his theory of the proposition and posits an approach to music analysis that is sensitive to the importance of music's internal structure while recognizing the enormously significant role played by cultural contexts and social forces in the development of musical meanings. The article introduces Peircean semiotics and develops a theory of musical valency with particular reference to the Allegro of Mozart's ‘Prague’ Symphony. It concludes by theorizing the role of cultural and ideological forces in articulating and saturating a music's valency.
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Rabinowitch, Tal-Chen. "How, Rather Than What Type of, Music Increases Empathy." Empirical Musicology Review 10, no. 1-2 (April 8, 2015): 96. http://dx.doi.org/10.18061/emr.v10i1-2.4572.
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<p>In their article on music and empathy, Greenberg, Rentfrow and Baron-Cohen propose to employ the Emphasizing–Systemizing (E-S) theory as a framework for analyzing the intrapersonal and social psychological processes that underlie the capacity of music to promote empathy. In particular, the authors consider the implications of E-S theory for autism, and speculate about which types of music might be most effective for increasing empathy in individuals with autistic spectrum conditions (ASC). The main premise of the article is that different personality types, characterized as empathizers versus systemizers, prefer different types of music, and that the key for increasing empathy with music is to choose the type of music that is most associated with empathizers. This commentary attempts to shift the focus of analysis from the type of music, to the more fundamental mechanisms by which music in general may promote empathy. From this alternative perspective E-S theory leads to surprising theoretical predictions about music, empathy, and ASC.</p>
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Spears, Amy, Danelle Larson, and Sarah Minette. "Informal music-making among piano bar musicians: Implications for bridging the gap in music education." Journal of Popular Music Education 4, no. 3 (November 1, 2020): 371–88. http://dx.doi.org/10.1386/jpme_00019_1.
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Recent research in music education has sought to bridge the gap between formal music-making and informal music-making done by many musicians who may have little or no formal musical training. Piano bar musicians fall under the category of musicians who may or may not have had formal musical training but are able to perform covers of a variety of pop songs for live and interactive audiences. Many of them also play multiple instruments. Participants we observed and interviewed in this qualitative study were eight piano bar musicians from various regions of the United States. Key findings include that the primary method participants used to learn songs was listening and learning by ear; ‘reading’ music took multiple forms; music theory and chord functionality were useful and allowed for flexible musicianship; and that a participatory culture was important for learning the songs the musicians chose to learn.
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Waldenfels, Bernhard. "Responsivity and Co-Responsivity from a Phenomenological Point of View." Studia Phaenomenologica 20 (2020): 341–55. http://dx.doi.org/10.5840/studphaen20202015.
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In this article I shall largely make use of terms like “responding,” “responsive,” and “responsivity.” These terms are not part of traditional philosophy. They became indispensable for my own thinking when I tried to develop a theory of radical Fremdheit, of alienness or otherness. Hence I came to a sort of responsive phenomenology that does not replace current variants of phenomenology, but sets a new tone. This is what I try to show in my article. I shall proceed in four steps. In the first step, dealing with the formation of the theory, I try to show how our experience of radical otherness leads to the key concept of responsivity (sect. 1–3). In the second step, I shall describe the main features of responsivity and its pathological deviations (sect. 4–6). In the third step, this perspective will be expanded by referring to co-affection and co-responsivity as elements of proto-sociality (sect. 7). The fourth and last step will offer a practical outlook, raising the question to what extent responsivity can be organised and institutionalised (sect. 8).
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Van Egmond, René, and David Butler. "Diatonic Connotations of Pitch-Class Sets." Music Perception 15, no. 1 (1997): 1–29. http://dx.doi.org/10.2307/40285737.
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This is a music-theoretical study of the relationship of two-, three-, four-, five-, and six-member subsets of the major (pure minor), harmonic minor, and melodic (ascending) minor reference collections, using pitchclass set analytic techniques. These three collections will be referred to as the diatonic sets. Several new terms are introduced to facilitate the application of pitch-class set theory to descriptions of tonal pitch relations and to retain characteristic intervallic relationships in tonal music typically not found in discussions of atonal pitch-class relations. The description comprises three parts. First, pitch sets are converted to pitchclass sets. Second, the pitch- class sets are categorized by transpositional types. Third, the relations of these transpositional types are described in terms of their key center and modal references to the three diatonic sets. Further, it is suggested that the probability of a specific key interpretation by a listener may depend on the scale-degree functions of the tones.
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Conklin, Darrell, Martin Gasser, and Stefan Oertl. "Creative Chord Sequence Generation for Electronic Dance Music." Applied Sciences 8, no. 9 (September 19, 2018): 1704. http://dx.doi.org/10.3390/app8091704.
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This paper describes the theory and implementation of a digital audio workstation plug-in for chord sequence generation. The plug-in is intended to encourage and inspire a composer of electronic dance music to explore loops through chord sequence pattern definition, position locking and generation into unlocked positions. A basic cyclic first-order statistical model is extended with latent diatonicity variables which permits sequences to depart from a specified key. Degrees of diatonicity of generated sequences can be explored and parameters for voicing the sequences can be manipulated. Feedback on the concepts, interface, and usability was given by a small focus group of musicians and music producers.
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Werner, Kim, Kai-Michael Griese, and Andreas Faatz. "Value co-creation processes at sustainable music festivals: a grounded theory approach." International Journal of Event and Festival Management 11, no. 1 (October 14, 2019): 127–44. http://dx.doi.org/10.1108/ijefm-06-2019-0031.
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Purpose One of the most significant shifts in contemporary business thinking in the tourism and event industry is co-creation and the framework for adopting this collaborative approach is integral for achieving the fundamental goal of value creation. The purpose of this paper is to enhance the understanding of sustainable events by analysing value co-creation processes from the attendees’ perspective. Design/methodology/approach The methodical framework comprises two steps. First, the study analyses the literature related to festivals and value co-creation, with a focus on sustainable festivals. Second, data rooted research based on grounded theory is conducted, using 12 semi-structured interviews with music festival attendees. Findings Three distinct festival attendee categories were identified: the sustainable co-creation type, the calculating type and the experience type. Within each category, attendees have different attitudes, personal values and experiences as well as individual assessments of what exactly constitutes value and value creation. These three categories are regarded as key factors in describing different kinds of value co-creation processes in the festival context. Research limitations/implications Considering these three types and addressing their personal values, beliefs and value perceptions will allow festival organisers to better manage the development of sustainable festivals and their role as value co-creators. Originality/value This paper addresses the need to better understand how value is created in a festival context. The application of grounded theory also considers scholarly calls for a deeper search into the meaning and essence of value for festival attendees.
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[李嘉], Li Jia. "Genre Localization in Current Popular Music of the Philippines." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 37–54. http://dx.doi.org/10.30819/aemr.7-3.
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This paper focuses on the process of genre formation in the evolution of popular music of the Philippines’. From the phenomenon of the perception discrepancy of popular music genres among different stakeholders, this paper gives to attention at providing an alternative theory to explore how the Philippines’ popular music genres have been established. Applying Joe Peter’s theory of cultural hybridism, this paper specifically attempts at exploring how foreign genres have been fused with local cultures and musical components, aiming at a vocality of expressing the Philippines’ national identity, which is key in articulating Philippines’ popular music genres in their actual sense. Rather than a parodic emulation of foreign music products, genre fluidity is a unique reflection of the artistic wisdom of Philippines’ musicians in the pursuit of forming a voice of their own, a continuation of their nationalist movement in their popular music idioms.
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Lin, Tzu-Hong, Hsi-Peng Lu, Huei-Hsia Hsu, San-San Hsing, and Tai-Li Ho. "Why do People Continue to Play Social Network Game (SNG)?" International Journal of E-Adoption 5, no. 4 (October 2013): 22–35. http://dx.doi.org/10.4018/ijea.2013100102.
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This study proposes a model constructed by affection perspective (PA theory) and social perspective to examine the determining factors of social network game (SNG) players' intentions on word-of-mouth and continue. Total 276 subjects were conducted to test this model. The results demonstrate that interstate of arousal leads people to a higher level of continuing to use on SNG. Moreover, word-of-mouth had significant impact on continue to use, which showed that the impact of the dimension of continue to use on the word-of-mouth. It was found that sharing was a key factor on determining a player's intentions to word-of-mouth and continuous use on social network game. Through the increasing stickiness and word-of-mouth for SNG, the games providers could create the higher value from loyal customers. This paper contributes to an insight of the effects of players' intentions on word-of-mouth and continuance to use on SNG.
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Lefferts, Peter M. "A RIDDLE AND A SONG: PLAYING WITH SIGNS IN A FOURTEENTH-CENTURY BALLADE." Early Music History 26 (October 2007): 121–80. http://dx.doi.org/10.1017/s026112790700023x.
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In a rich and learned article, Lawrence Gushee explored the tabula monochordi of Magister Nicolaus de Luduno. The tabula, which was copied into a music theory manuscript of c. 1400 of southern Italian provenance (Rome/St. Paul), consists of three associated parts. The first and third I shall call, following Gushee, the tabula figurarum (an elaborate musical example) and the tabula numerorum (an extremely elaborate table of corresponding information). Between them lies the enigmatic text of a six-stanza musical puzzle poem, ‘Ut pateat evidenter’, with which Gushee wrestled inconclusively. A concordance to the poem unknown to Gushee in an English music theory manuscript of about the same age (Bodley 842) associates these cryptic verses with a polyphonic chanson, a two-voice ballade that has never been published. The ballade is a sophisticated demonstration piece for tonal and mensural behaviours, and I believe that this song is the original complement and key to the poem’s meaning. It also offers a significant new point of entry into the complicated world of Anglo-French tonal theory as it developed in treatises and compositions of the fourteenth century.
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Larrieu, Maxence. "A Consideration of the Code of Computer Music as Writing, and Some Thinking on Analytical Theories." Organised Sound 24, no. 3 (November 29, 2019): 319–28. http://dx.doi.org/10.1017/s1355771819000384.
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This article focuses on the analysis of computer music, that is, music which uses programming languages so that what the listener hears is the result of computer code. One key point in this article is that this music exists with some writing, that is, the computer code. I note that this key point has not been addressed in the latest theories for analysing computer music. Indeed, we often see this music as part of the electroacoustic field, where the audio signal is essential, and where we usually read that those musics are non-written music. After an introduction on this topic, in the second section I will make a distinction between ‘before the signal’ and ‘from the signal’ to organise the theories to analyse electroacoustic music. In the third section, I will focus on computer music and I will show the historical difficulty in considering ‘code’ in musical analysis, mainly with an important exchange between two pioneers, Marco Stroppa and Jean-Claude Risset. In the fourth section I will explain with Jean-Claude Risset and Horacio Vaggione the specificity of computer music: this music is written. Finally, I will look into a recent analysis theory, the Interactive Aural Analysis by Michael Clarke, which seems to fit with the latter specificity.
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Barker, Anthony. "“Consider Yourself One of Us”: The Dickens Musical on Stage and Screen." Text Matters, no. 7 (October 16, 2017): 241–57. http://dx.doi.org/10.1515/texmat-2017-0013.
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Charles Dickens’s work has been taken and adapted for many different ends. Quite a lot of attention has been given to film and television versions of the novels, many of which are very distinguished. The stage and screen musical based on his work, essentially a product of the last fifty years, has been neither as studied nor as respected. This paper looks at the connection between Dickens’s novels, the celebration of “London-ness” and its articulation in popular forms of working-class music and song. It will argue that potentially unpromising texts were taken and used to articulate pride and a sense of community for groups representing the disadvantaged of the East End and, more specifically, for first-generation Jewish settlers in London. This is all the more surprising as it was in the first instance through depictions of Oliver Twist and the problematic figure of Fagin that an Anglo-Jewish sensibility was able to express itself. Other texts by Dickens, notably Pickwick Papers, A Christmas Carol and The Old Curiosity Shop, were also adapted to musical forms with varying results, but the period of their heyday was relatively short, as their use of traditional and communitarian forms gave place in the people’s affection to manufactured pop/rock and operetta forms. I will argue that this decline was partly the product of changing London demographics and shifts in theatre economics and partly of the appropriation of Dickens by the academy.
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Brown, Jenine, Daphne Tan, and David John Baker. "The Perceptual Attraction of Pre-Dominant Chords." Music Perception 39, no. 1 (September 1, 2021): 21–40. http://dx.doi.org/10.1525/mp.2021.39.1.21.
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Among the three primary tonal functions described in modern theory textbooks, the pre-dominant has the highest number of representative chords. We posit that one unifying feature of the pre-dominant function is its attraction to V, and the experiment reported here investigates factors that may contribute to this perception. Participants were junior/senior music majors, freshman music majors, and people from the general population recruited on Prolific.co. In each trial, four Shepard-tone sounds in the key of C were presented: 1) the tonic note, 2) one of 31 different chords, 3) the dominant triad, and 4) the tonic note. Participants rated the strength of attraction between the second and third chords. Across all individuals, diatonic and chromatic pre-dominant chords were rated significantly higher than non-pre-dominant chords and bridge chords. Further, music theory training moderated this relationship, with individuals with more theory training rating pre-dominant chords as being more attracted to the dominant. A final data analysis modeled the role of empirical features of the chords preceding the V chord, finding that chords with roots moving to V down by fifth, chords with less acoustical roughness, and chords with more semitones adjacent to V were all significant predictors of attraction ratings.
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Wyllie, Barbara. "Popular music in Nabokov's Lolita, or Frankie and Johnny : a new key to Lolita?" Revue des études slaves 72, no. 3 (2000): 443–52. http://dx.doi.org/10.3406/slave.2000.6675.
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Miyazaki, Ken’ichi, and Yoko Ogawa. "Learning Absolute Pitch by Children." Music Perception 24, no. 1 (September 1, 2006): 63–78. http://dx.doi.org/10.1525/mp.2006.24.1.63.
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This study is an attempt to depict the learning process of AP in Japanese children in a cross-sectional design. In this study, 104 children of 4 to 10 years of age in a music school were tested. The children had been trained within a music education system of the school since they entered the school at the age of 4. They had received a one-hour keyboard lesson a week in school and probably had everyday practice at home. The training during the initial 2-year course emphasized imitative singing with syllables in the fixed-do system while playing on the keyboard at the same time. In this training, particular emphasis was placed on establishing associations between pitches and solfège labels. In the AP test, test tones presented to the children ranged from C3 (131 Hz) to B5 (988 Hz). Children were instructed to name each tone out loud as rapidly as possible. The test score markedly increased for a fairly good number of the children with remarkable improvement from the age of 4 to 7. Children seemed to learn pitches in order of their appearance in music lessons; first, white-key notes, then black-key notes. However, one should be cautious about concluding from the present results that anyone can learn to develop AP with appropriate training, because there may be confounding factors (e.g., sampling bias and a certain dropout rate). Nevertheless, the present results are consistent with the early-learning theory of AP, and may explain the existence of partial AP (greater accuracy for white-key notes) and a high prevalence of AP in Japan.
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Rubinoff, Kailan R. "Toward a Revolutionary Model of Music Pedagogy." Journal of Musicology 34, no. 4 (2017): 473–514. http://dx.doi.org/10.1525/jm.2017.34.4.473.
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Established in 1795 in the aftermath of the French Revolution, the Paris Conservatoire emerged from a training school for National Guard musicians. Aligned with the French Republic’s broader educational reforms, the Conservatoire was marked by its secularization, standardized curriculum, military-style discipline, and hierarchical organization. Among its most ambitious achievements was the publication of new instruction treatises from 1799 to 1814. Covering elementary theory, solfège, harmony, and all the major instruments, these methods articulated the Conservatoire’s pedagogy and circulated widely in nineteenth-century Europe. Hugot and Wunderlich’s Méthode de flûte (1804) exemplifies the Conservatoire’s approach, making a distinct break from methods published only a few years earlier: abstract technical drills predominate, evenness of tone quality in all key areas is emphasized, and the instruction of improvisation is curtailed. Airs, brunettes, and other pieces typical of ancien régime tutors are replaced with exercises demanding repetitive practicing. Meticulous instructions for the mastery of the flute’s four-key mechanism bear a striking resemblance to rifle-handling directions in contemporary military training and combat manuals by Jacques-Antoine-Hippolyte, Comte de Guibert, and others. The Conservatoire instruction manuals serve not only as guidebooks to historical fingerings and period performance style; they also can be read as social and political texts. Meant to advance a more rational music pedagogy, these treatises show the extent to which the military model permeated everyday life in post-revolutionary France. Further, they demonstrate a new conception of musical training beyond personal development toward the creation of professional musicians serving a patriotic, republican function. The treatise thus becomes what Michel Foucault calls a “simple instrument,” disciplining musicians’ bodies for the political goals of the state.
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Pressing, Jeff. "The Micro- and Macrostructural Design of Improvised Music." Music Perception 5, no. 2 (1987): 133–72. http://dx.doi.org/10.2307/40285390.
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Two short pieces of freely improvised music by the same performer were recorded in microstructural detail by the use of a specially constructed automatic transcription apparatus. The apparatus consists of a modified DX7 synthesizer and 2650 microprocessor which interfaces with other computers for data processing. The resultant music is transcribed into a modified form of traditional notation and subjected to both micro- and macrostructural analysis. Microanalysis includes the areas of timing (interonset and duration distributions, displacement, chordal spreads, etc.), dynamics ( key velocity, quantization, chordal patterns, etc.), and legatoness (relative, absolute, pedaling). Macroanalysis uses the full panoply of devices from traditional music theory (tonal procedures, rhythmic and motivic design, pitch class sets, etc.). Correlations between microstructural parameters, and with macrostructure, were found to be highly significant in Improvisation A, which had a supplied external pulse, but largely absent in Improvisation B, which had no such pulse. Where pulse was present, rhythmic design was found to be based largely on pulse subdivision and shifting. Some performance effects (e.g., chordal spreads) operated over a time scale of 10 msec or less. Others (e.g., synchronization to an external pulse) showed less resolution. Differences in the distribution patterns of interonset times, durations, and legatoness suggest three independent underlying temporal mechanisms that may sometimes link together in coordination with macrostructure. Quantization ("categorical production") of some variables (interonset times, key velocities) was clearly established. The results were also interpreted in relation to an earlier model of improvisation (Pressing, 1987).
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Frankland, Bradley W., and Annabel J. Cohen. "Parsing of Melody: Quantification and Testing of the Local Grouping Rules of Lerdahl and Jackendoff's A Generative Theory of Tonal Music." Music Perception 21, no. 4 (June 1, 2004): 499–543. http://dx.doi.org/10.1525/mp.2004.21.4.499.
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In two experiments, the empirical parsing of melodies was compared with predictions derived from four grouping preference rules of A Generative Theory of Tonal Music (F. Lerdahl & R. Jackendoff, 1983). In Experiment 1 (n = 123), listeners representing a wide range of musical training heard two familiar nursery-rhyme melodies and one unfamiliar tonal melody, each presented three times. During each repetition, listeners indicated the location of boundaries between units by pressing a key. Experiment 2 (n = 33) repeated Experiment 1 with different stimuli: one familiar and one unfamiliar nursery-rhyme melody, and one unfamiliar, tonal melody from the classical repertoire. In all melodies of both experiments, there was good within-subject consistency of boundary placement across the three repetitions (mean r = .54). Consistencies between Repetitions 2 and 3 were even higher (mean r = .63). Hence, Repetitions 2 and 3 were collapsed. After collapsing, there was high between-subjects similarity in boundary placement for each melody (mean r = .62), implying that all participants parsed the melodies in essentially the same (though not identical) manner. A role for musical training in parsing appeared only for the unfamiliar, classical melody of Experiment 2. The empirical parsing profiles were compared with the quantified predictions of Grouping Preference Rules 2a (the Rest aspect of Slur/Rest), 2b (Attack-point), 3a (Register change), and 3d (Length change). Based on correlational analyses, only Attack-point (mean r = .80) and Rest (mean r = .54) were necessary to explain the parsings of participants. Little role was seen for Register change (mean r = .14) or Length change (mean r = ––.09). Solutions based on multiple regression further reduced the role for Register and Length change. Generally, results provided some support for aspects of A Generative Theory of Tonal Music, while implying that some alterations might be useful.
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Papies, Dominik, and Harald J. van Heerde. "The Dynamic Interplay between Recorded Music and Live Concerts: The Role of Piracy, Unbundling, and Artist Characteristics." Journal of Marketing 81, no. 4 (July 2017): 67–87. http://dx.doi.org/10.1509/jm.14.0473.
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The business model for musicians relies on selling recorded music and selling concert tickets. Traditionally, demand for one format (e.g., concerts) would stimulate demand for the other format (e.g., recorded music) and vice versa, leading to an upward demand spiral. However, the market for recorded music is under pressure due to piracy and the unbundling of albums, which also entail threats for the traditional demand spiral. Despite the fundamental importance of recorded music and live concerts for the multibillion-dollar music industry, no prior research has studied their dynamic interplay. This study fills this void by developing new theory on how piracy, unbundling, artist fame, and music quality affect dynamic cross-format elasticities between record demand and concert demand. The theory is tested with a unique data set covering weekly concert and recorded music revenues for close to 400 artists across more than six years in the world's third-largest music market, Germany. The cross-format elasticity of record on concert revenue is much stronger than the reverse elasticity of concert on record revenue. The results show the key role of piracy, unbundling, and artist characteristics on these cross-format elasticities, which have implications for the business model of the music industry.
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Stachó, László. "Mental virtuosity: A new theory of performers’ attentional processes and strategies." Musicae Scientiae 22, no. 4 (November 13, 2018): 539–57. http://dx.doi.org/10.1177/1029864918798415.
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In contrast to the widespread approach of the notion of “virtuosity” highlighting mechanical dexterity, I advance the view that a crucial feature of both technical virtuosity and musical expressivity is a specific ability to readily and quickly adapt the attention to various constantly changing aspects of the musical process while performing. In this sense, virtuosity can be likened to general mental capabilities such as intelligence. Based on concepts taken from performance analysis, pedagogical practice and sports science (especially from recent research of attentional control in sports), I attempt to define and discuss key features of performance virtuosity as “mental dexterity”. This includes the ability to quickly position oneself into different temporal perspectives in real time during performance; the ability to quickly shift the attentional focus, as well as to quickly modulate the depth of attention; furthermore, to promptly position oneself into different empathic perspectives, similarly to projecting oneself into another person’s position.
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Cook, Scott. "Technology in a New Key: Toward a Reexamination of Musical Theory and Practice in the Zeng Hou Yi 曾侯乙 Bells." T’oung Pao 106, no. 3-4 (September 4, 2020): 219–65. http://dx.doi.org/10.1163/15685322-10634p01.
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Abstract This paper takes a fresh look at music-theoretical information to be gleaned from a comparison of pitch-frequency measurements to inscriptional information from the massive bronze bell-set excavated from the tomb of Marquis Yi of Zeng and attempts to place it in the context of knowledge derived from received texts of Warring States China. After examining several textual witnesses to conceptions of music theory from that era, the paper observes how similar conceptions may have informed the inscribers of the Zeng bells, who employed a system of nomenclature that diverged in subtle yet important ways from formulations of their philosophical counterparts. The final two sections explore possible implications of the bells’ relatively unique terminology from the standpoints of scale structures and musical temperament, respectively, looking for consistent patterns of tone-to-key distributions and clues to the possible deployment of a system of intonation designed to temper the twelve-tone gamut.
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Chircev, Elena. "Tradition and Characteristics in the Approach to Psaltic Music Theory in Romania – the 20th Century." Artes. Journal of Musicology 24, no. 1 (April 1, 2021): 269–99. http://dx.doi.org/10.2478/ajm-2021-0017.
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Abstract Throughout the 20th century, Byzantine music theory was a constant preoccupation of chanters, teachers and musicians, who contributed to the development of this field and to the publication of a significant number of books in the Romanian language. The paper addresses these theoretical contributions based on several key elements: conception, structure, content, vocabulary, musical exercises and examples, extension, graphic aspect, relevance in the era –, but also in the context of the development of a specialized literature in Romanian. The analysis of these books reveals that everything that was published in Romania in the 20th century in the field of psaltic theory remains within the confines of the Byzantine tradition, faithfully passed down to the modern era. At the same time, the changes that the Romanian society went through in the second half of the century influenced the manner of approach to the theoretical notions, which were treated in the light of staff notation and Western music theory. However, over the course of the 20th century, successive authors managed to develop a specialized terminology in Romanian and to transmit the notional content specific to the Byzantine tradition.
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Cross, Ian. "Musicality and the human capacity for culture." Musicae Scientiae 12, no. 1_suppl (March 2008): 147–67. http://dx.doi.org/10.1177/1029864908012001071.
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This paper proposes that the human capacity for musicality is integral to the human capacity for culture, and that the key feature of music that motivates its efficacy is its indeterminacy of meaning, or floating intentionality. It suggests that, from an evolutionary perspective, a focus on music's commonalities of function (rather than of structure) across cultures provides an appropriate framework for theorising the roles and the operational features of music's indeterminacy of meaning. A three-dimension account of meaning in music is presented in which biologically generic, humanly specific, and culturally enactive dimensions of the experience of music are delineated, with summary examples of the application of the theory to musical usages in different cultures. It is noted that the dimensions outlined in the theory may be operational at different semiotic levels, and it is concluded that music became part of the repertoire of modern human behaviour as an exaptive consequence of processes of progressive altricialisation in the hominin lineage.
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Ferenc, Anna. "Transforming Passive Receptivity of Knowledge into Deep Learning Experiences at the Undergraduate Level: An Example from Music Theory." Collected Essays on Learning and Teaching 8 (June 12, 2015): 55. http://dx.doi.org/10.22329/celt.v8i0.4254.
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This article discusses transformation of passive knowledge receptivity into experiences of deep learning in a lecture-based music theory course at the second-year undergraduate level through implementation of collaborative projects that evoke natural critical learning environments. It presents an example of such a project, addresses key features of its design to keep in mind for adaptation to other disciplines, and analyzes its effectiveness through a qualitative study of student reflections. The study yields compelling evidence of enhanced engagement with subject learning, meta-learning and transfer of learning.