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Books on the topic 'Musicologie cognitive'

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Author: Grafiati
Published: 25 May 2024

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1

Leman, Marc. Music, gestalt, and computing: Studies in cognitive and systematic musicology. Berlin: Springer, 1997.

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2

Leman, Marc. Music and schema theory: Cognitive foundations of systematic musicology. Berlin: Springer, 1995.

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3

Estonia) Conference on Interdisciplinary Musicology (3rd 2007 Tallinn. CIM07: 3rd Conference on Interdisciplinary Musicology, Tallinn, Estonia, 15-19 August 2007 ; abstracts ; hosted by the Estonian Academy of Music and Theatre with the University of Tartu ; in collaboration with: European Society for the Cognitive Sciences of Music, European Seminar in Ethnomusicology and International Musicological Society. Tallinn: Estonian Academy of Music and Theatre, 2009.

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4

Wewers, Julia, and Seifert Uwe. Under construction: trans- and interdisciplinary routes in music research: Proceedings of SysMus 11, Cologne 2011. Osnabrück: Electronic Publishing, 2012.

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5

Hofstadter, Douglas R. Metamagical themas: Questing for the essence of mind and pattern. London: Viking, 1985.

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6

Hofstadter, Douglas R. Metamagical themas: questing for the essence of mind and pattern. Harmondsworth: Penguin, 1985.

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7

Hofstadter, Douglas R. Metamagical Themas: Questing for the Essence of Mind and Pattern. New York: Basic Books, 1985.

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8

Hofstadter, Douglas R. Metamagical themas: Questing for the essence of mind and pattern. London: Penguin, 1993.

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9

Hofstadter, Douglas R. Metamagical themas: Questing for the essence of mind and pattern. London: Penguin, 1986.

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10

(Assistant), A. Camurri, J. Louhivuori (Assistant), R. Parncutt (Assistant), A. Schneider (Assistant), and Marc Leman (Editor), eds. Music, Gestalt, and Computing: Studies in Cognitive and Systematic Musicology (Lecture Notes in Computer Science). Springer, 1997.

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11

Leman, Marc. Music and Schema Theory: Cognitive Foundations of Systematic Musicology. Springer London, Limited, 2012.

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12

Leman, Marc. Music and Schema Theory: Cognitive Foundations of Systematic Musicology. Springer, 2011.

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13

Leman, Marc, A. Camurri, and J. Louhivuori. Music, Gestalt, and Computing: Studies in Cognitive and Systematic Musicology. Springer, 2014.

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14

Honing, Henkjan. Illiterate Listener: On Music Cognition, Musicality and Methodology. Amsterdam University Press, 2011.

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15

Honing, Henkjan. Illiterate Listener: On Music Cognition, Musicality and Methodology. Amsterdam University Press, 2011.

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16

Honing, Henkjan. Illiterate Listener: On Music Cognition, Musicality and Methodology. Amsterdam University Press, 2011.

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17

Honing, Henkjan. The Illiterate Listener: On Music Cognition, Musicality and Methodology. Amsterdam University Press, 2011.

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18

Leman, Marc. Music and Schema Theory: Cognitive Foundations of Systematic Musicology (Springer Series in Information Sciences). Springer, 1996.

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19

Piekut, Benjamin, and George E. Lewis, eds. The Oxford Handbook of Critical Improvisation Studies, Volume 2. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199892921.001.0001.

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Abstract:
Improvisation informs a vast array of human activities, from creative practices in art, dance, music, and literature to everyday conversation and the relationships to natural and built environments that surround and sustain us. These volumes gather scholarship on improvisation from a similarly wide range of perspectives, with contributions from more than 60 scholars working in architecture, anthropology, art history, computer science, cognitive science, cultural studies, dance, economics, education, ethnomusicology, film, gender studies, history, linguistics, literary theory, musicology, neuroscience, new media, organizational science, performance studies, philosophy, popular music studies, psychology, science and technology studies, sociology, and sound art, among others.
20

Lewis, George E., and Benjamin Piekut, eds. The Oxford Handbook of Critical Improvisation Studies, Volume 1. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780195370935.001.0001.

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Improvisation informs a vast array of human activities, from creative practices in art, dance, music, and literature to everyday conversation and the relationships to natural and built environments that surround and sustain us. These volumes gather scholarship on improvisation from a similarly wide range of perspectives, with contributions from more than 60 scholars working in architecture, anthropology, art history, computer science, cognitive science, cultural studies, dance, economics, education, ethnomusicology, film, gender studies, history, linguistics, literary theory, musicology, neuroscience, new media, organizational science, performance studies, philosophy, popular music studies, psychology, science and technology studies, sociology, and sound art, among others.
21

Buhler, James. Neoformalism and Four Models of the Soundtrack. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0005.

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Chapter 5 considers the topic of formal theories and models, starting with the movement of so-called neoformalism in film studies. It opens by examining Kristin Thompson’s manifesto for the analytical approach of neoformalism, David Bordwell’s use of an analogy to musicology to formulate a research program for film studies, and Noël Carroll’s account of how music serves to modify the narrative situation. The chapter then considers four models of how the music subsystem works in relation to the other subsystems of film: Kathryn Kalinak’s “working model” for film music; Nicholas Cook’s model of pairwise multimedia interactions that is useful especially for disentangling and assessing the claims of other theories of media interaction; David Neumeyer’s model of the integrated soundtrack; and Annabel Cohen’s intricate cognitive model of how film music is perceived.
22

Music in the Body –The Body in Music. Georg Olms Verlag, 2022. http://dx.doi.org/10.25366/2022.84.

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The body matters in the humanities and within social and cultural studies. It is variously understood as a knowledge store and transmitter, as a node of perception and cognition, as a site of discipline and power and as a locus of identity and agency. But how is the body integral to our concept of music? With increasing interest, Musicology is discovering the epistemological role of the body and its potential as analytical tool, pursuing avenues such as affect studies, performance studies, gender in music and musical perception and cognition. This volume of collected works draws on an international conference, held at the Department of Musicology at the University of Göttingen in 2019, that aimed to bring together various theoretical perspectives relating to the body and evaluating its present musicological relevance. It explores pathways into a fundamental debate on the body as a central musicological category and reflects on the relevance of this category in the application of diverse musical objects and practices. Composition and performance, aesthetic discourse and sociological analysis, perception and production are all discussed in relation to bodily knowledge, bodily practice and bodily norms. Historical, contemporary, analytical, ethnographic and artistic-experimental approaches reflect the richness of the musicological discipline and its forays into the musical body. The publication contains twelve different approaches to the body in music in German and English by Sylvain Brétéché, Max Ischebeck, Werner Jauk, Jasna Jovicevic, Moritz Kelber, Tobias Knickmann, Ina Knoth, Madeleine Le Bouteiller, Alastair White, Martin Winter, Stefanie Schroedter and Martin Zenck.
23

Wallmark, Zachary. Nothing but Noise. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190495107.001.0001.

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This book explores how timbre shapes musical affect and meaning. Integrating perspectives from musicology with the cognitive sciences, it advances a novel model of timbre interpretation that takes into account the bodily, sensorimotor dynamics of sound production and perception. The contribution of timbre to musical experience is clearest in drastic situations where meaning is itself contested—that is, in polarizing contexts of reception, where the evaluation of “musical” timbre by some listeners collides headlong into a competing claim that it is just “noise.” Taking this commonplace reaction as a starting point, the book explores affect, reception, and timbre semantics through diverse cultural-historical case studies that frustrate the acoustic and perceptual boundary between musical sound and noise. It includes chapters on the racial and gender politics in the reception of free jazz saxophone “screaming” in the late 1960s; an analysis of contested timbral ideals in the performance practices of the Japanese shakuhachi flute; and an historical examination of the overlooked role of “brutal” timbres in the moral panic over heavy metal in the 1980s and 1990s. The book closes with a discussion of the slippery social fault lines that separate perceptions of musical sound from perceptions of noise and the ethical stakes of encountering another’s “aural face.”
24

Hofstadter, Douglas R. Metamagical Themas. Bantam, 1986.

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25

Hofstadter, Douglas R. Metamagical Themas: Questing for the Essence of Mind and Pattern. Bantam, 1986.

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26

Christopher, Nicholas. Metamagical Themas. Penguin Putnam~trade, 1995.

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27

Christopher, Nicholas. Metamagical Themas. Penguin Putnam~trade, 1995.

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28

Hofstadter, Douglas R. Metamagicum: Fragen nach der Essenz von Geist und Struktur. Dtv, 1994.

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29

Metamagische Thema's: Op zoek naar de essentie van geest en patroon. Amsterdam, The Netherlands: Contact, 1988.

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30

Hofstadter, Douglas R. Metamagical Themas: Questing for the Essence of Mind and Pattern. Basic Books, 1996.

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