Journal articles on the topic 'Organ music Analysis, appreciation'
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Wei, Zhou. "Analysis on the Charm of Music Appreciation." Music Report 2, no. 3 (2020): 73–77. http://dx.doi.org/10.35534/mur.0203012c.
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Buel, Dona L., and Samuel C. Welch. "Improving Music Appreciation Class Using Cohort Analysis." General Music Today 13, no. 3 (April 2000): 13–15. http://dx.doi.org/10.1177/104837130001300304.
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Cho, Sung-gi, and YeoJin Hwang. "Status Analysis of Music Appreciation Education in the Secondary School." Korean Society of Music Education Technology 33 (October 16, 2017): 135–53. http://dx.doi.org/10.30832/jmes.2017.33.135.
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Jorgensen, Estelle R. "Percy Scholes on Music Appreciation: Another View." British Journal of Music Education 4, no. 2 (July 1987): 139–56. http://dx.doi.org/10.1017/s0265051700005908.
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Percy A. Scholes' (1877–1958) defence of music appreciation remains one of the most clearly articulated among the twentieth-century approaches to school music. His published work is eminently readable, spiced with wit, and attractive to non-musicians. Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.1This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to examine his assumptions about the rationale, objectives, instructional methods and curriculum for music appreciation; and to suggest implications of this analysis for future research and practice.
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Platz, Friedrich, and Reinhard Kopiez. "When the Eye Listens: A Meta-analysis of How Audio-visual Presentation Enhances the Appreciation of Music Performance." Music Perception 30, no. 1 (September 1, 2012): 71–83. http://dx.doi.org/10.1525/mp.2012.30.1.71.
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the visual component of music performance as experienced in a live concert is of central importance for the appreciation of music performance. However, up until now the influence of the visual component on the evaluation of music performance has remained unquantified in terms of effect size estimations. Based on a meta-analysis of 15 aggregated studies on audio-visual music perception (total N = 1,298), we calculated the average effect size of the visual component in music performance appreciation by subtracting ratings for the audio-only condition from those for the audio-visual condition. The outcome focus was on evaluation ratings such as liking, expressiveness, or overall quality of musical performances. For the first time, this study reveals an average medium effect size of 0.51 standard deviations — Cohen's d; 95% CI (0.42, 0.59) — for the visual component. Consequences for models of intermodal music perception and experimental planning are addressed.
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Meehan, Sarah, Elizabeth A. Hough, Gemma Crundwell, Rachel Knappett, Mark Smith, and David M. Baguley. "The Impact of Single-Sided Deafness upon Music Appreciation." Journal of the American Academy of Audiology 28, no. 05 (May 2017): 444–62. http://dx.doi.org/10.3766/jaaa.16063.
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Background: Many of the world’s population have hearing loss in one ear; current statistics indicate that up to 10% of the population may be affected. Although the detrimental impact of bilateral hearing loss, hearing aids, and cochlear implants upon music appreciation is well recognized, studies on the influence of single-sided deafness (SSD) are sparse. Purpose: We sought to investigate whether a single-sided hearing loss can cause problems with music appreciation, despite normal hearing in the other ear. Research Design: A tailored questionnaire was used to investigate music appreciation for those with SSD. Study Sample: We performed a retrospective survey of a population of 51 adults from a University Hospital Audiology Department SSD clinic. SSD was predominantly adult-onset sensorineural hearing loss, caused by a variety of etiologies. Data Analysis: Analyses were performed to assess for statistical differences between groups, for example, comparing music appreciation before and after the onset of SSD, or before and after receiving hearing aid(s). Results: Results demonstrated that a proportion of the population experienced significant changes to the way music sounded; music was found to sound more unnatural (75%), unpleasant (71%), and indistinct (81%) than before hearing loss. Music was reported to lack the perceptual qualities of stereo sound, and to be confounded by distortion effects and tinnitus. Such changes manifested in an altered music appreciation, with 44% of participants listening to music less often, 71% of participants enjoying music less, and 46% of participants reporting that music played a lesser role in their lives than pre-SSD. Negative effects surrounding social occasions with music were revealed, along with a strong preference for limiting background music. Hearing aids were not found to significantly ameliorate these effects. Conclusions: Results could be explained in part through considerations of psychoacoustic changes intrinsic to an asymmetric hearing loss and impaired auditory scene analysis. Given the prevalence of music and its capacity to influence an individual’s well-being, results here present strong indications that the potential effects of SSD on music appreciation should be considered in a clinical context; an investigation into relevant rehabilitation techniques may prove valuable.
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Osiebe, Garhe. "Electoral Music Reception." Matatu 49, no. 2 (December 20, 2017): 439–66. http://dx.doi.org/10.1163/18757421-04902011.
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Abstract Audiences in Africa are a grossly under-researched demographic. This paper centres on the comparative analysis of two electoral audience-based surveys conducted between April and September 2012 in the Nigerian states of Bayelsa and Lagos; following the April 2011 presidential election in Nigeria that ushered the erstwhile President Goodluck Jonathan into power. The surveys sought to know the electorates’ reaction to the electoral campaign songs that endorsed Jonathan and how these songs informed their choice of candidate. The paper’s analysis combines an appreciation of the surveys’ results and the surveys’ procedure while focusing on the middle-ground between aesthetics and politics in the context.
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Lv, Yang. "Influence of cognitive neural mechanism on music appreciation and learning." Translational Neuroscience 10, no. 1 (April 23, 2019): 57–63. http://dx.doi.org/10.1515/tnsci-2019-0010.
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AbstractBased on the related research results of the relationship between cognitive neural mechanism and music in recent years. In this paper, we study the relationship between the cognitive neurons and music from the overlapping and separation of brain neuro-mechanism and the significance of functional relationships between the two. Through analysis, it can be seen that the cognitive neural mechanism has a certain influence on music appreciation and learning and the studies on brain-damaged patients show that the two may have separate and independent neural bases. Finally, we find the influence of sub-consciousness on decision making through the measurement of SCRs (skin conductance responses), and thus propose a decision model modified by subconscious and make an outlook for future research trends.
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Wolf, Motje. "The Appreciation of Electroacoustic Music: The prototype of the pedagogical ElectroAcoustic Resource Site." Organised Sound 18, no. 2 (July 11, 2013): 124–33. http://dx.doi.org/10.1017/s1355771813000046.
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This article introduces research on the influence of teaching on the change of inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to make Key Stage 3 students (11–14 years old)1 familiar with electroacoustic music. The curriculum introduced music using concepts, such as music with real-world sounds and music with generated sounds. Presented in an online environment and accompanied with a teachers’ handbook, the curriculum can be used online or as classroom-based teaching resource.The online environment was developed with the help of user-centred design. Following this, the curriculum was tested in a large-scale study including four Key Stage 3 classes within three schools in Leicester, UK. Data were collected using questionnaires, a listening response test and a summary of the teaching (letter written by participants). Qualitative content analysis was used for the data analysis.Results include the change of the participants’ appreciation of electroacoustic music during the study. Successful learning and a decrease in alienation towards electroacoustic music could be measured. The study shows that the appreciation of electroacoustic music can be enhanced through the acquirement of conceptual knowledge. Especially important was the enhancing of listening skills following a listening training as well as the broadening of the participants’ vocabulary that enabled them to describe their listening experience.
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Vinnicombe, Thea, and Pek U. Joey Sou. "Socialization or genre appreciation: the motives of music festival participants." International Journal of Event and Festival Management 8, no. 3 (October 9, 2017): 274–91. http://dx.doi.org/10.1108/ijefm-05-2016-0034.
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Purpose Academic studies have sought to understand the motivations of festival and event attendees usually through single-event case studies. This approach has failed to generate a generalizable set of motivation items. In addition, there is increasing criticism in the literature of the common methodological framework used in festival motivation studies, due to a perceived over-reliance on motivations derived from the broader tourism and travel research, with too little attention to event-specific factors. The purpose of this paper is to address these issues by analyzing a sub-category of motivation studies, music festivals, in order to see if this approach can elicit a consistent set of motivation dimensions for the sub-category, which can in turn be compared and contrasted with the broader literature. A new case study of motivations to attend the 28th Macau International Music Festival (MIMF) is included to complement the existing music festival sub-category by adding a classical music and music festivals in Asia. Design/methodology/approach Motivation dimensions important to music festivals are compared to dimensions across the broader festival motivation literature to find similarities and differences. Factor analysis is used to identify the motivation dimensions of attendees at the MIMF and the results are compared to those of existing music festival studies. Findings Music festival goers are shown to be primarily motivated by the core festival offering, the music, in contrast to festival attendees in general, where socialization has emerged as the primary motivating element. The results of the additional case study support these findings. Originality/value In contrast to previous research, this study examines the possibility of identifying common motivations among festival attendees through studying festivals by sub-categories.
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Robinson, Thomas O., James B. Weaver, and Dolf Zillmann. "Exploring the Relation between Personality and the Appreciation of Rock Music." Psychological Reports 78, no. 1 (February 1996): 259–69. http://dx.doi.org/10.2466/pr0.1996.78.1.259.
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Scores on five personality characteristics, extraversion, neuroticism, and psychoticism as well as reactive and proactive rebelliousness, and the appreciation of soft/nonrebellious and hard/rebellious rock-music videotapes were explored. After completing the personality tests, female and male undergraduates were exposed to rock-music videotapes and asked to rate various aspects of their enjoyment of each. Analysis indicated that psychoticism and reactive rebelliousness were associated with enjoyment in a parallel fashion. Specifically, respondents scoring high on psychoticism or high on reactive rebelliousness enjoyed hard/rebellious rock-music videotapes more than did their peers scoring low on psychoticism or low on reactive rebelliousness. The reverse was evident for the enjoyment of soft/nonrebellious rock-music videotapes. In contrast, scores on extraversion, neuroticism, and proactive rebelliousness were not associated with enjoyment. Gender differences emerged, however; women ( n = 78) enjoyed soft/nonrebellious rock music more than did men ( n = 60); and conversely, men enjoyed hard/rebellious rock music more than did women.
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Cho, Sung-gi, and Seok-il Yun. "Analysis on the Effects of Music Appreciation Teaching Methods for Improving Musical Vocabulary Ability." Korean Society of Music Education Technology, no. 37 (October 16, 2018): 153–73. http://dx.doi.org/10.30832/jmes.2018.37.153.
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Jeong, Jaeeun. "An Implications through the Analysis of Appreciation Sections and Activities in Secondary Music Textbooks." Educational Research Institute 39, no. 2 (December 30, 2019): 317–36. http://dx.doi.org/10.34245/jed.39.2.317.
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Zebua, Testi Bazarni, Julaga Situmorang, and R. Mursid. "PENGARUH STRATEGI PEMBELAJARAN DAN APRESIASI TERHADAP HASIL BELAJAR SENI MUSIK SISWA." Jurnal Teknologi Pendidikan (JTP) 11, no. 1 (November 2, 2018): 60. http://dx.doi.org/10.24114/jtp.v11i1.11197.
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Abstrak: Tujuan penelitian ini adalah: (1) untuk mengetahui apakah belajar seni musik siswa yang diajar dengan menggunakan strategi pembelajaran discovery learning lebih tinggi dari strategi ekspositori, (2) untuk mengetahui apakah hasil belajar seni musik siswa yang memiliki tingkat apresiasi tinggi lebih tinggi dari tingkat apresiasi rendah, dan (3) Untuk mengetahui apakah ada interaksi antara strategi pembelajaran dan apresiasi dalam memberikan pengaruh terhadap hasil belajar seni musik siswa. Metode penelitian menggunakan quasi eksperimen dengan desain penelitian penelitian faktorial 2 x 2. Teknik analisis data menggunakan ANAVA dua jalur pada taraf signifikan α = 0,05. Temuan penelitian menunjukkan : (1) Hasil belajar seni musik siswa yang diajar dengan strategi pembelajaran discovery learning dari konstruktivisme (79,67) lebih tinggi dibandingkan siswa yang diajar dengan strategi pembelajaran ekspositori (76,67). (2) Hasil belajar seni musik siswa yang memiliki tingkat apresiasi tinggi (79,50) lebih tinggi dibandingkan siswa yang memiliki tingkat apresiasi rendah (74,93). (3) Terdapat interaksi antara strategi pembelajaran dan tingkat apresiasi dalam mempengaruhi hasil belajar seni musik siswa. Siswa dengan apresiasi tinggi akan memperoleh hasil belajar yang lebih tinggi jika diajar dengan strategi pembelajaran discovery learning dari konstruktivisme. Demikian pula dengan siswa yang memiliki apresiasi rendah, akan memperoleh hasil belajar yangg lebih tinggi jika diajar dengan strategi pembelajaran ekspositori. Kata Kunci: strategi pembelajaran, apresiasi, hasil belajar seni musik Abstract: The purpose of this study are: (1) to find out whether learning music art students taught by using discovery learning learning strategies is higher than expository strategies, (2) to find out whether the results of students learning music are higher than low level of appreciation, and (3) To find out if there is an interaction between learning strategies and appreciation in influencing students' learning outcomes in music. The research method uses quasi-experimental research design with 2 x 2 factorial research. Data analysis techniques using two-way ANAVA at a significant level α = 0.05. The findings of the study show: (1) The results of learning the music arts of students taught by discovery learning learning strategies of constructivism (79.67) are higher than students taught with expository learning strategies (76.67). (2) The results of learning the music arts of students who have a high level of appreciation (79.50) are higher than students who have a low appreciation level (74.93). (3) There is an interaction between learning strategies and the level of appreciation in influencing students' learning outcomes in music. Students with high appreciation will obtain higher learning outcomes if taught with discovery learning learning strategies from constructivism. Likewise with students who have low appreciation, will get higher learning outcomes if taught with an expository learning strategy. Keywords: learning strategies, appreciation, learning outcomes of music art
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Pei, Zhaoliang, and Yan Wang. "Analysis of Computer Aided Teaching Management System for Music Appreciation Course Based on Network Resources." Computer-Aided Design and Applications 19, S1 (March 23, 2021): 1–11. http://dx.doi.org/10.14733/cadaps.2022.s1.1-11.
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Cheng, Min-Yu, Jaclyn B. Spitzer, Valeriy Shafiro, Stanley Sheft, and Dean Mancuso. "Reliability Measure of a Clinical Test: Appreciation of Music in Cochlear Implantees (AMICI)." Journal of the American Academy of Audiology 24, no. 10 (November 2013): 969–79. http://dx.doi.org/10.3766/jaaa.24.10.8.
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Purpose: The goals of this study were (1) to investigate the reliability of a clinical music perception test, Appreciation of Music in Cochlear Implantees (AMICI), and (2) examine associations between the perception of music and speech. AMICI was developed as a clinical instrument for assessing music perception in persons with cochlear implants (CIs). The test consists of four subtests: (1) music versus environmental noise discrimination, (2) musical instrument identification (closed-set), (3) musical style identification (closed-set), and (4) identification of musical pieces (open-set). To be clinically useful, it is crucial for AMICI to demonstrate high test-retest reliability, so that CI users can be assessed and retested after changes in maps or programming strategies. Research Design: Thirteen CI subjects were tested with AMICI for the initial visit and retested again 10–14 days later. Two speech perception tests (consonant-nucleus-consonant [CNC] and Bamford-Kowal-Bench Speech-in-Noise [BKB-SIN]) were also administered. Data Analysis: Test-retest reliability and equivalence of the test's three forms were analyzed using paired t-tests and correlation coefficients, respectively. Correlation analysis was also conducted between results from the music and speech perception tests. Results: Results showed no significant difference between test and retest (p > 0.05) with adequate power (0.9) as well as high correlations between the three forms (Forms A and B, r = 0.91; Forms A and C, r = 0.91; Forms B and C, r = 0.95). Correlation analysis showed high correlation between AMICI and BKB-SIN (r = −0.71), and moderate correlation between AMICI and CNC (r = 0.4). Conclusions: The study showed AMICI is highly reliable for assessing musical perception in CI users.
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Jacquemin, Christian, Rami Ajaj, Sylvain Le Beux, Christophe d’Alessandro, Markus Noisternig, Brian F. G. Katz, and Bertrand Planes. "Organ Augmented Reality." International Journal of Creative Interfaces and Computer Graphics 1, no. 2 (July 2010): 51–66. http://dx.doi.org/10.4018/jcicg.2010070105.
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This paper discusses the Organ Augmented Reality (ORA) project, which considers an audio and visual augmentation of an historical church organ to enhance the understanding and perception of the instrument through intuitive and familiar mappings and outputs. ORA has been presented to public audiences at two immersive concerts. The visual part of the installation was based on a spectral analysis of the music. The visuals were projections of LED-bar VU-meters on the organ pipes. The audio part was an immersive periphonic sound field, created from the live capture of the organ sounds, so that the listeners had the impression of being inside the augmented instrument. The graphical architecture of the installation is based on acoustic analysis, mapping from sound levels to synchronous graphics through visual calibration, real-time multi-layer graphical composition and animation. The ORA project is a new approach to musical instrument augmentation that combines enhanced instrument legibility and enhanced artistic content.
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Hill, David S., Stuart B. Kamenetsky, and Sandra E. Trehub. "Relations among Text, Mode, and Medium: Historical and Empirical Perspectives." Music Perception 14, no. 1 (1996): 3–21. http://dx.doi.org/10.2307/40285707.
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We examined, by historical and empirical means, relations among text (positive, negative), mode (Ionian, Phrygian), and medium (organ, vocal) in settings of a popular Christian melody from the baroque era. A descriptive analysis of 51 representative settings indicated that baroque composers tended to link Ionian settings of the melody to a "salvation" text and Phrygian settings to a "condemnation" text. They also set vocal pieces more frequently in the Ionian mode and organ pieces in the Phrygian mode. A series of experiments confirmed that contemporary adult and child listeners linked reward texts to the Ionian mode and punishment texts to the Phrygian mode, with the internal cadence structure of the settings affecting such links. Moreover, adult listeners associated these texts differentially with organ and vocal settings.
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Manescu, Adrian, Alessandra Giuliani, Fabrizio Fiori, and B. Baretzky. "Residual Stress Analysis in Reed Pipe Brass Tongues of Historic Organs." Materials Science Forum 524-525 (September 2006): 969–74. http://dx.doi.org/10.4028/www.scientific.net/msf.524-525.969.
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True Baroque organ music can only come back to life in the 21st century by developing Cu-based alloys and implementing them in the organ reed pipes. Reed pipes contain a vibrating part, the brass tongue that crucially influences its sound. Energy dispersive synchrotron X-ray diffraction has been performed in order to investigate residual stresses in the tongues. The in depth analysis gives us an important indication on the processes the tongues were submitted to during their manufacturing: hammering, annealing, filing to the neat thickness, curving of the tongues. A biaxial stress state in the organ tongues was considered. The residual stress values and behaviour were correlated to the manufacturing processes.
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Kwon Jong Ae and MOONMIOCK. "Application and effect analysis of early childhood music appreciation education program based on oriental theory of mind." Korean Journal of Early Childhood Education 37, no. 5 (October 2017): 453–76. http://dx.doi.org/10.18023/kjece.2017.37.5.020.
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Lim, Youkyoung, and Joengju Kim. "An Analysis on the Status and Teacher’s Awareness of Music Appreciation Activities of Early Childhood Education Institutions." Journal of Humanities and Social sciences 21 12, no. 1 (February 28, 2021): 1633–46. http://dx.doi.org/10.22143/hss21.12.1.115.
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XIAO, Chang HUANG, Na. "A Trial Analysis of Teaching Strategies of Vocal Appreciation Class in Music Teaching in Colleges and Universities." Journal of International Education and Development 5, no. 2 (2021): 19–23. http://dx.doi.org/10.47297/wspiedwsp2516-250004.20210502.
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Higgins, Kathleen, Robert C. Solomon, and Dale Jamieson. "Language, Mind and Art: Essays in Appreciation and Analysis in Honor of Paul Ziff." Journal of Aesthetics and Art Criticism 54, no. 4 (1996): 386. http://dx.doi.org/10.2307/431921.
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Antović, Mihailo. "Multilevel grounded semantics across cognitive modalities: Music, vision, poetry." Language and Literature: International Journal of Stylistics 30, no. 2 (March 22, 2021): 147–73. http://dx.doi.org/10.1177/0963947021999182.
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This article extends the author’s theory of multilevel grounding in meaning generation from its original application to music to the domains of visual cognition and poetry. Based on the notions of ground from the philosophy of language and conceptual blending from cognitive linguistics, the approach views semiosis in works of art as a series of successive mappings couched in a set of six hierarchical, recursive levels of constraint or grounding boxes: (1) perceptual, parsing the stimulus into formal gestalten; (2) cross-modal, motivating schematic correspondences between the stimulus so structured and the listener’s embodied experience; (3) affective, ascribing to this embodied appreciation dynamic sensations, as in the distinction between tense and lax parts of the perceptual flow; (4) conceptual, drawing analogies between such schematic and affective appreciation and elementary experiential imagery, resulting in outlines of narratives; (5) culturally rich, checking such a narrative outline against the recipient’s cultural knowledge; and (6) individual, adding to the levels above idiosyncratic recollections from the participant’s personal experience. The goal of the analysis is to show that the interpretation of constructs from different semiotic modes (music, vision and language) may rely on the same grounding levels as it ultimately depends on the same perceptual, embodied and contextual circumstances. Specifically, the article uses the system to analyse the possible reception of a section from the romance for violin and orchestra ‘The Lark Ascending’ by Ralph Vaughan Williams, the painting ‘The Last Supper’ by Leonardo da Vinci and the poem ‘No Man Is an Island’ by John Donne.
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Dirgualam, Oki, Dadang Suganda, Buky Wibawa, and Kunto Sufianto. "ESTETIKA PERMAINAN MUSIK BARAT PADA BIG BAND SALAMANDER." Paradigma: Jurnal Kajian Budaya 11, no. 1 (April 29, 2021): 99. http://dx.doi.org/10.17510/paradigma.v11i1.420.
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<p>This article describes the aesthetics of the big band jazz music by Salamander Big Band. Aesthetics is a study of the processes that occur in three basic elements: aesthetic objects, aesthetic subjects, and aesthetic values related to aesthetic experiences, aesthetic properties, and attractive and unattractive parameters. This paper presents the basic elements of western music aesthetics, especially big band jazz music, and how Salamander Big Band can implement the aesthetic values of western jazz big band music in the music played. This research uses a qualitative approach with a descriptive analysis method. Through a process of appreciation, habituation, additional insight into jazz music and continuous and consistent practice, Salamander Big Band members can adapt to cultures from outside Indonesia's popular music culture, namely playing American big band music with the right aesthetic.</p>
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Omigie, Diana, Daniel Müllensiefen, and Lauren Stewart. "The Experience of Music in Congenital Amusia." Music Perception 30, no. 1 (September 1, 2012): 1–18. http://dx.doi.org/10.1525/mp.2012.30.1.1.
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individuals with congenital amusia have difficulty recognizing and discriminating melodies. While much research has focused on the perceptual deficits of congenital amusics, the extent to which these deficits have an impact on the ability to engage with and appreciate music remains unexplored. The current study used experience sampling methodology to identify distinct patterns of music-related behavior in individuals with amusia and matched controls. Cluster analysis was used to group individuals according to the similarity of their behavior, regardless of their status as amusic or control. This yielded a two-cluster solution: one cluster comprising 59% of the amusic sample and 6% of controls and the other comprising 41% of the amusic sample and 94% of controls. Comparisons of the two clusters in terms of specific aspects of music listening behavior revealed differences in levels of music engagement and appreciation. Further comparisons provided support for the existence of amusic subgroups showing distinct attitudes toward music. The findings are discussed in relation to social, contextual, and demographic factors.
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Smialek, Thomas, and Renee Reiter Boburka. "The Effect of Cooperative Listening Exercises on the Critical Listening Skills of College Music-Appreciation Students." Journal of Research in Music Education 54, no. 1 (April 2006): 57–72. http://dx.doi.org/10.1177/002242940605400105.
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The authors investigated the effectiveness of cooperative listening exercises in developing critical music-listening skills in nonmusic majors. Subjects were college freshmen and sophomores enrolled in Introduction to Western Music. Control-group subjects attended classes taught exclusively in lecture format. Two experimental groups participated in four 50-minute group-listening exercises. Experimental Group 2 engaged in five additional group-analysis exercises, comparing known and unfamiliar musical styles. The consistent use of cooperative-listening exercises proved to be more effective in developing subjects' critical listening skills than either lecture-demonstration or occasional group work. On final exams, Experimental Group 2 scored significantly better than the other groups on identifications of texture, compositional genre, and musical style. To be most effective, group work needs to be implemented on a regular basis — for both the introduction of new material and for its review or application. March 31, 2006 April 22, 2006
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Janata, Petr, and Hellmuth Petsche. "Spectral Analysis of the EEG as a Tool for Evaluating Expectancy Violations of Musical Contexts." Music Perception 10, no. 3 (1993): 281–304. http://dx.doi.org/10.2307/40285571.
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The generation and updating of expectancies is a crucial process for our understanding and appreciation of music. We present evidence that the dynamic process of musical expectancy can be studied by using several electroencephalographic (EEG) parameters such as amplitude or coherence in various frequency bands between 1.5 and 31.5 Hz. At specific electrodes (amplitude parameter) or electrode pairs (coherence parameter), values of these parameters depend on how an established musical context is completed, that is, if the expectancy generated by the context is violated, the pattern of the brain's electrical activity differs significantly from when the expectancy is fulfilled. The various parameters are also sensitive to the ease with which subjects classify a musical resolution. In our study, musically trained subjects heard repeated trials consisting of cadence primes in various major keys and inversions. Each cadence resolved either to the tonic, the relative minor, or a chord based on the tonic of the most distantly related major key. The three resolutions represented the "best," an "ambiguous," and "worst" possible fulfillments of the expectancy (resolution to the tonic) generated by the priming cadence. In a "response" condition, subjects expressed a yes/no judgment of how well the resolution matched their expectancy of the best possible resolution; in a "no response" condition, subjects were asked to make the same judgment but no overt response was required. Analyses of variance snowed that reaction times, response accuracies, and some EEG parameters differed between the various resolutions. In addition to confirming that a form of expectancy operates in musical contexts, the results point towards the brain structures responsible for the processing of complex musical stimuli. In particular, EEG parameters changed not only at recording sites located above the auditory cortices, but also at sites above right frontal and parietal regions.
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HIGGINS, KATHLEEN, and ROBERT C. SOLOMON. "Dale Jamieson, Ed., Language, Mind and Art: Essays in Appreciation and Analysis in Honor of Paul Ziff." Journal of Aesthetics and Art Criticism 54, no. 4 (September 1, 1996): 386–87. http://dx.doi.org/10.1111/1540_6245.jaac54.4.0386.
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Bolívar-Chávez, Oscar-Elías, Joaquín Paredes-Labra, Yury-Vladimir Palma-García, and Yessenia-Anabel Mendieta-Torres. "Educational Technologies and Their Application to Music Education: An Action-Research Study in an Ecuadorian University." Mathematics 9, no. 4 (February 20, 2021): 412. http://dx.doi.org/10.3390/math9040412.
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Information and Communication Technologies (ICT) are tools that are part of the process of teaching and learning music. These didactic/pedagogical resources are widely used by teachers. They strengthen, motivate, and increase the student’s interest in learning. This study is an action-research (AR). It involves 12 teachers and 68 students in the subject of music education in an Ecuadorian university. A Holistic and Technological Model of Music Education (HTMME) was generated. The performance of the plan was evaluated by means of an original questionnaire and qualitative work. The AR procedure involved an analysis of data at the end of each implementation cycle. The appreciation of the new model was very positive. With the methodology implemented, new teaching experiences and relevant learning for students were achieved. Learning music with ICT induces creative-musical processes in students.
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Jang, Ji Yoon, Byeongwon Ha, and Byungjoo Lee. "Survey and Analysis of Interactive Art Documentation, 1979–2017." Leonardo 52, no. 3 (June 2019): 284–85. http://dx.doi.org/10.1162/leon_a_01716.
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Today, documentation is becoming a major source of exposure and appreciation for artworks on the Internet, beyond the original purpose of preservation and academic archiving. This study analyzes 982 documentations of interactive digital art projects created between 1979 and 2017. Each documentation was represented as a point in a 17-dimensional vector space through binary encoding. The resulting visualization from the t-SNE algorithm shows that, compared to its phenomenological quality, most documentation of interactive art is a cinematic surrogate that follows film post-production techniques. In conclusion, this study calls for the development of documentary techniques that can provide the viewer with a quasi-authentic experience of the original work in interactive digital art.
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Lee, Yi Yeh, Aaron Raymond See, Shih Chung Chen, and Chih Kuo Liang. "Effect of Music Listening on Frontal EEG Asymmetry." Applied Mechanics and Materials 311 (February 2013): 502–6. http://dx.doi.org/10.4028/www.scientific.net/amm.311.502.
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Frontal EEG asymmetry has been recognized as a useful method in determining emotional states and psychophysiological conditions. For the current research, resting prefrontal EEG was measured before, during and after listening to sad music video. Data were recorded and analyzed using a wireless EEG module with digital results sent via Bluetooth to a remote computer for further analysis. The relative alpha power was utilized to determine EEG asymmetry indexes. The results indicated that even if a person had a stronger right hemisphere in the initial phase a significant shift first occurred during audio-video stimulation and was followed by a further inclination to left EEG asymmetry as measured after the stimulation. Furthermore the current research was able to use prefrontal EEG to produce results that were mostly measured at the frontal lobe. It was also able to provide significant changes in results using audio and video stimulation as to previous experiments that made use of audio stimulation. In the future, more experiments can be conducted to obtain a better understanding of a person’s appreciation or dislike toward a certain video, commercial or other multimedia contents through the aid of convenient EEG module.
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Spitzer, Jaclyn B., Dean Mancuso, and Min-Yu Cheng. "Development of a Clinical Test of Musical Perception: Appreciation of Music in Cochlear Implantees (AMICI)." Journal of the American Academy of Audiology 19, no. 01 (January 2008): 056–81. http://dx.doi.org/10.3766/jaaa.19.1.6.
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The purpose of this study was to develop a test to assess the ability of persons with cochlear implants (CIs) to interpret musical signals. Up to this time, the main direction in outcomes studies of cochlear implantation has been in relation to speech recognition abilities. With improvement in CI hardware and processing strategies, there has been a growing interest in musical perception as a dimension that could improve greatly users' quality of life. The Appreciation of Music in Cochlear Implantees (AMICI) test was designed to measure the following abilities: discrimination of music versus noise; identification of musical instruments (from a closed set); identification of musical styles (from a closed set); and recognition of individual musical pieces (open set). The first phase of the study was test development and recording. The second phase entailed presentation of a large set of stimuli to normal listeners. Based on phase 2 findings, an item analysis was performed to eliminate stimuli that were confusing or resulted in high error rates in normals. In phase 3, hearing-impaired participants, using cochlear Implants, were assessed using the beta version of the AMICI test. El propósito de este estudio fue desarrollar una prueba para evaluar la capacidad de las personas con implantes cocleares (CI) para interpretar señales musicales. Hasta ahora, el enfoque principal en estudios de desempeño de implantación coclear se ha concentrado las habilidades de reconocimiento del lenguaje. Con el mejoramiento del hardware y de las estrategias de procesamiento de los CI, ha existido un interés creciente en la percepción de la música, como una dimensión que podría incrementar importantemente la calidad de vida de los usuarios. La Prueba de Apreciación Musical en Implantados Cocleares (AMICI) fue diseñado para medir las siguientes aptitudes: discriminación de la música vs. ruido; identificación de instrumentos musicales (de un grupo cerrado); identificación de estilos musicales (de un grupo cerrado); y reconocimiento de piezas musicales independientes (grupo abierto). La primera fase de la prueba fue evaluar desarrollo y registro. La segunda fase involucró la presentación de un amplio grupo de estímulos a oyentes normales. Con base en los hallazgos de la fase 2, se realizó un análisis de ítems para eliminar estímulos que eran confusos o producían una alta tasa de errores en los normales. En la fase 3, los participantes hipoacúsicos, usando sus implantes cocleares, fueron evaluados usando la versión beta de la Prueba AMICI.
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Aghnini, Aghnini, Sunarto Sunarto, and Triyanto Triyanto. "The Form and Function of Antan Delapan Music in Muara Lawai Village, Muara Enim District." Catharsis 9, no. 1 (May 31, 2020): 1–9. http://dx.doi.org/10.15294/catharsis.v9i1.38242.
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Antan Delapan music is one of the arts found in the district of Muara Enim, South Sumatra. Antan Delapan art is currently displaced by the development of western music, therefore the form and function of music plays an important role in maintaining the Antan Delapan music among the people of Muara Enim Regency. The purpose is to study the form and function of Antan Delapan music. The method in this study uses descriptive qualitative with an interdisciplinary approach, while the data collection technique uses observation, interviews, and document studies. The data validity technique uses source triangulation. Data analysis techniques use the concepts of Strauss and Corbic. The results of this study are the form of Antan Delapan music which is dissected through the elements of time, melody, harmony, while the function of Antan Delapan music in the community as, entertainment, aesthetic appreciation, means of communication, cultural harmony, and as an integration. And it is hoped that this research can be useful for the people of Muara Enim Regency, especially the Muare Lawai Village Community in order to know the function and form of Antan Delapan music and can maintain the Antan Delapan music among the Muare Lawai villagers, and is useful for readers who will use music theory about the form and music function.
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Jang, Sekyung. "Intergenerational Choir: A Qualitative Exploration of Lived Experiences of Older Adults and Student Music Therapists." Journal of Music Therapy 57, no. 4 (August 1, 2020): 406–31. http://dx.doi.org/10.1093/jmt/thaa012.
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Abstract The purpose of this phenomenological study was to explore the essence of an intergenerational choir experience for older adults and student music therapists. Data were gathered through a series of open-ended individual interviews with older adult participants (n = 10) and student participants (n = 5). Analysis of data revealed four emerging themes common to both older adults and students: mutual learning, social bonding and support, feelings of accomplishment, and appreciation and enjoyment. Emerging themes unique to the older adult community members were that (a) participation challenges came from differences in musical culture; (b) intergenerational choir promoted experience of emotional health and helped maintain an active lifestyle; and (c) community members were passionate about recruiting new members to expand the choir. Emerging themes unique to the student music therapists were that (a) intergenerational choir provided unique ensemble experiences and (b) students reported positive changes in perception of older adults. Implications of intergenerational music engagement for music therapy clinical practice, research, and education are discussed.
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Krause, Amanda E., Solange Glasser, and Margaret Osborne. "Augmenting Function with Value: An Exploration of Reasons to Engage and Disengage from Music Listening." Music & Science 4 (January 1, 2021): 205920432110225. http://dx.doi.org/10.1177/20592043211022535.
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Investigations of music in everyday life are dominated by a functional perspective, drawn from work using the theory of Uses and Gratifications. In so doing, we may have neglected to fully appreciate the value people place on music listening. Therefore, the present study considered if, and why, people value music listening and probed instances when they may not want to listen to music in everyday life. A sample of 319 university students residing in Australia (76.50% female, M age = 20.64) completed an online questionnaire, on which they were asked to provide short responses to open-ended questions directly addressing two research questions. Inductive thematic analysis yielded 13 themes synthesizing how participants valued listening to music, such as appreciation, emotion, time and engagement, cognitive factors, and mood regulation. Reasons for not listening to music were summarized by eight themes dominated by interference with activities that required focus or concentration, followed by environmental context, affective responses, music engagement and inversely, a preference for silence or other auditory stimuli. Fifteen percent of participants stated there was never a time they did not want to listen to music. The findings provide a novel perspective on the value of music listening beyond that considered by uses and gratifications with regard to the function of listening to music in everyday life.
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Giannoukakis, Marinos. "Narrative in Form: A topological study of meaning in transmedial narratives." Organised Sound 21, no. 3 (November 11, 2016): 260–72. http://dx.doi.org/10.1017/s1355771816000236.
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This article is an attempt to demonstrate the relation between appreciation of morphology and structure in form on the one hand, with higher symbolic structures – crucial for meaning formation routines – on the other, and to evaluate their significance in transmedial narratives, primarily in the case of media-based artworks. The use of catastrophe theoretical models to classify forms, their structure and dynamics is proposed, and the question of how these models can give us insight into the meaning that is carried through transmedial narratives (referential or abstract) is examined. Finally, the value of these insights for the composition and practice-based analysis of multimedia art forms is demonstrated.
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Wrzeciono, Piotr. "Pattern Recognition in Music on the Example of Reconstruction of Chest Organ from Kamień Pomorski." Sensors 21, no. 12 (June 17, 2021): 4163. http://dx.doi.org/10.3390/s21124163.
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The chest organ, which gained popularity at the beginning of the 17th century, is a small pipe organ the size of a large box. Several years ago, while compiling an inventory, a previously unidentified chest organ was discovered at St. John the Baptist’s Co-Cathedral in Kamień Pomorski. Regrettably, the instrument did not possess any of its original pipes. What remained, however, was an image of the front pipes preserved on the chest door. The main issue involved in the reconstruction of a historic instrument is the restoration of its original tuning (temperament). Additionally, it is important to establish the frequency of A4, as this sound serves as a standard pitch reference in instrument tuning. The study presents a new method that aims to address the above-mentioned problems. To this end, techniques to search for the most probable temperament and establish the correct A4 frequency were developed. The solution is based on the modeling of sound generation in flue pipes, as well as statistical analysis to help match a model to the parameters preserved in the chest organ drawing. Additionally, differentalues of the A4 sound values were defined for temperatures ranging from 10 ∘C to 20 ∘C. The tuning system proposed in 1523 by Pietro Aaron proved to be the most probable temperament. In the process of testing the developed flue pipe model, the maximum tuning temperature was established as 15.8 ∘C.
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Naples, James, and Tulio A. Valdez. "Letters to the Deaf: Present-Day Relevance of History’s Earliest Social Analysis of Deafness." Otolaryngology–Head and Neck Surgery 162, no. 3 (January 21, 2020): 319–21. http://dx.doi.org/10.1177/0194599819900492.
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Harriet Martineau was a 19th-century sociologist who had a progressive form of deafness. Her 1834 essay, Letters to the Deaf, was the earliest historical document depicting the social challenges of hearing loss. Martineau details complex situations that hard-of-hearing people experienced in the 19th century such as social isolation due to frustrations with communication, physician shortcomings, limited music appreciation, and the stigma of hearing amplification devices. Her descriptions of these experiences are commonly faced by hard-of-hearing people in present-day society. Advancements in technology and recognition of the negative social impact of hearing loss have improved the social experience for the hard of hearing; however, social challenges remain relevant. In this article, we review Letters to the Deaf and note the ways in which this essay provides a dual perspective regarding how much we have advanced as a society and how much we still have to overcome in addressing the social challenges of hearing loss.
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Kupina, Darina. "Meditations for organ: parallels to musical creativeness." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 65–83. http://dx.doi.org/10.33287/222018.
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The purpose of the article is to determine genre parameters of meditation for the organ on the example of the pieces of composers of the early 21st century. It is proposed to concretize the prerequisites of meditation for organ as an independent genre and to compare the strategies of reading the genre by representatives of different national schools of composition (Italy, Ukraine, Brazil). Among the research methods there were used: historiographic (restoring the historical retrospective of genre formation), the method of genre analysis (confirming the genre status of meditation), the method of style determination in combination with the comparative method (comparing the strategies of reading the genre by composers of different nationalities). The novelty of the proposed topic lies in the identification of the genre status of meditation for the organ and the introduction into the musicological discourse of works that have not previously come to the attention of Ukrainian researchers. Conclusions. Meditations “Shiva” by K. Ferrari, “And there was night, and there was morning, and there were quiet heavenly flutes...” by M. Shukh and Prelude-Meditation by F. Costa make it possible to define meditation as an independent genre of organ art with a constant set of stable indicators. Meditation for the organ is a concert piece that belongs to the genres of cult-ritual music and is characterized by an introverted structure of the communicative act. All works with a similar genre name are united by a single semantic field of religious contemplation. The compositional foundations of meditation as a genre consist in the multiple repetition of structures (of different scales) with a clear “looseness” of the form, which guarantees the tightness of the same sound environment and the monochromatic text. Stylistic characteristics became variable components of the meditation: the meditative profile of “Shiva” by C. Ferrari is emphasized by the using of techniques of minimalism, in the piece by M. Shukh the emphasis is transferred to the timbre of the organ with appeal to the intonation of oriental music, and in the Prelude-meditation by F. Costa attempts to build a new sound universe, as extended scale of the overtone series.
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Scott, Derek B. "In Search of Genetically Modified Music: Race and Musical Style in the Nineteenth Century." Nineteenth-Century Music Review 3, no. 1 (June 2006): 3–23. http://dx.doi.org/10.1017/s147940980000032x.
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I should begin by declaring immediately my standpoint that there is no such thing as race. Race and, by extension, racism may have a social reality but they have no sound scientific grounding whatsoever. No convincing biological evidence has ever been produced that establishes the existence of different human races. DNA analysis offers little support to theories of genetic difference, and has revealed that even the most geographically separate social groups vary in only 6 to 8 per cent of their genes. Race does not present a medical problem when it comes to organ transplants. My research questions are, therefore: When and why did the idea of ‘race’ arise, and how did this fiction affect the production and consumption of music in the nineteenth century? In seeking answers, I make illustrative references to Liszt's Gypsy, Wagner's Jew, Celtic music, African-American music and American Indian music.
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Gjerdingen, Robert O. "“Historically Informed” Corpus Studies." Music Perception 31, no. 3 (December 2012): 192–204. http://dx.doi.org/10.1525/mp.2014.31.3.192.
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Musicians can choose between various “historicist” or “presentist” ways of performing works from the past. Music scholars who study early music sometimes are forced to make similar choices. If one thinks of corpus studies in music as an objective form of counting the “elements of music,” the question of what constitutes an “element” can involve similar historicist/presentist dilemmas. The article examines three historically significant characteristics of European art music—three historicist features—that are not always recognized in presentist corpus studies. For an illustrative example, a comparison is made between how the cadenza doppia in a Bach toccata for organ might be represented in a corpus study as either a two-voice framework or a series of Roman numerals in the tradition of Allen McHose (1947). Because that type of cadence was a commonplace in Bach’s time and in Bach’s compositions, a corpus analysis should be able to detect its multiple occurrences as a core element of the music.
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Arbi, Bahtiar, and Richard Junior Kapoyos. "BENTUK PERTUNJUKAN DAN FUNGSI BUNDENGAN WONOSOBO." Tonika: Jurnal Penelitian dan Pengkajian Seni 2, no. 2 (December 9, 2019): 11–26. http://dx.doi.org/10.37368/tonika.v2i2.105.
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Bundengan is a musical instrument that is transformed from kowangan or tudhung. Kowangan is a kind of head covering made from bamboo slats, clumpring, and palm fibers that are used by duck herders to protect them from rain and sunlight. Bundengan is used as a dance accompaniment as in Lengger and Soreng. The purpose of this study is to analyze the form of performance and function of bundengan art. This study uses qualitative methods with data collection techniques interviews, observation, and study documents. Data validity techniques are based on credibility criteria, using data triangulation, while data analysis techniques are through data collection, presentation, reduction, and verification. This research approach uses an interdisciplinary qualitative approach, with intraesthetic studies on music forms and extraesthetics on music functions. The results of this study indicate that the form of the bundengan imitates the sound of gamelan (bendhe, kempul, gong, and kendang) applied to the pattern of the game to accompany the Lengger Topeng dance. While the function of bundengan music is as a dance accompaniment, emotional expression, aesthetic appreciation, entertainment, communication, related to social norms, cultural continuity, and community integration.
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Behmer Hansen, Ryan A., Xinming Wang, Gitanjali Kaw, Valinteshley Pierre, and Samuel E. Senyo. "Accounting for Material Changes in Decellularized Tissue with Underutilized Methodologies." BioMed Research International 2021 (May 31, 2021): 1–15. http://dx.doi.org/10.1155/2021/6696295.
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Tissue decellularization has rapidly developed to be a practical approach in tissue engineering research; biological tissue is cleared of cells resulting in a protein-rich husk as a natural scaffold for growing transplanted cells as a donor organ therapy. Minimally processed, acellular extracellular matrix reproduces natural interactions with cells in vitro and for tissue engineering applications in animal models. There are many decellularization techniques that achieve preservation of molecular profile (proteins and sugars), microstructure features such as organization of ECM layers (interstitial matrix and basement membrane) and organ level macrofeatures (vasculature and tissue compartments). While structural and molecular cues receive attention, mechanical and material properties of decellularized tissues are not often discussed. The effects of decellularization on an organ depend on the tissue properties, clearing mechanism, chemical interactions, solubility, temperature, and treatment duration. Physical characterization by a few labs including work from the authors provides evidence that decellularization protocols should be tailored to specific research questions. Physical characterization beyond histology and immunohistochemistry of the decellularized matrix (dECM) extends evaluation of retained functional features of the original tissue. We direct our attention to current technologies that can be employed for structure function analysis of dECM using underutilized tools such as atomic force microscopy (AFM), cryogenic electron microscopy (cryo-EM), dynamic mechanical analysis (DMA), Fourier-transform infrared spectroscopy (FTIR), mass spectrometry, and rheometry. Structural imaging and mechanical functional testing combined with high-throughput molecular analyses opens a new approach for a deeper appreciation of how cellular behavior is influenced by the isolated microenvironment (specifically dECM). Additionally, the impact of these features with different decellularization techniques and generation of synthetic material scaffolds with desired attributes are informed. Ultimately, this mechanical profiling provides a new dimension to our understanding of decellularized matrix and its role in new applications.
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Whiteley, Sheila. "Progressive rock and psychedelic coding in the work of Jimi Hendrix." Popular Music 9, no. 1 (January 1990): 37–60. http://dx.doi.org/10.1017/s026114300000372x.
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Discussion of the 1960s generally identifies progressive rock as the prime organ of communication within the counter-culture. At the same time, musical analysis of the genre is an underdeveloped field of study, including only an identification of musical characteristics (Willis 1978), Mellers' analysis of the Beatles (1973) and Middleton and Muncie's analysis of five representative songs in the Open University's course, Popular Culture (1981). As a particularly heterogeneous genre (compared with, for example, rock 'n' roll and r&b), definitions of progressive rock equally raise problems: to what extent does the variety of styles reflect the variety of radical movements contained within the overall term counter-culture; alternatively, given the variety of styles, can progressive rock be considered a single phenomenon and, if so, to what extent does it have musical codes in common?
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Kazakova, Natalia Y., and Irina S. Shilkina. "Baron G. Kusov, or sketches for a portrait. On yet another prototype in O. Mandelstam’s Egyptian Stamp [Egipetskaya marka]." Voprosy literatury, no. 6 (December 20, 2019): 158–75. http://dx.doi.org/10.31425/0042-8795-2019-6-158-175.
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An acquaintance of Mandelstam’s from the pre-revolutionary Koktebel period, baron Kusov resurfaces in the poet’s life in the early 1920s. In their detailed research of the baron’s biography, the authors mention his graduation from the Page Corps, his brilliant career in the Chevalier Guard Regiment and success in the highest noble circle, his knowledgeable appreciation of music and ballet, his enthusiasm for theosophy, and a keen interest in Ancient Egypt. Based on their detailed analysis of documented evidence and Mandelstam’s text, the authors discover undeniable biographical and character-specifc similarities between the baron and Parnok, the protagonist of The Egyptian Stamp [Egipetskaya marka]. However, they still admit that Parnok is a complex character combining the features found in a number of Mandelstam’s acquaintances.
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Dimic, Zoran. "On artistic shaping of citizens’ political gatherings." Filozofija i drustvo 24, no. 3 (2013): 23–33. http://dx.doi.org/10.2298/fid1303023d.
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Following the new reading of Kant?s third critique, which was proposed by Hannah Arendt in her Lectures on Kant?s Political Philosophy, in this paper, the author deals with the function of art in the establishment, organization and profiling of political communities. The focus is primarily on the field of music. The analysis begins with ancient philosophers (Pythagoras, Plato, Aristotle) and continues with the problems which relate to artistic shaping of citizens? lives in modern epoch (Rousseau, Kant, Schiller). The goal of the paper is to show that the philosophy of art and the philosophy of music, could be taken as a political philosophy, precisely because the analysis of these phenomena constantly convinces a close intertwining of politics and aesthetics, i.e. art and power, music and power. As a conclusion, we might say that a general aesthetic sense can be seen as a kind of human organ for public aesthetic gathering of citizens. Music, poetry, visual arts, etc., have become tools for the political shaping of citizens, i.e. the tools of their political life.
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Mountain, Rosemary. "Elaborating Analogies of Time Perception." Organised Sound 25, no. 2 (August 2020): 259–68. http://dx.doi.org/10.1017/s1355771820000163.
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Using a mixture of physiological evidence and analogies of time, the author describes the current version of a model of how we might view our interactions with time in music and beyond. An older model designed for analysis of complex twentieth-century acoustic works is updated to incorporate varied profiles of electroacoustic music. Recent research in auditory systems corroborates that we receive different types of information simultaneously through different channels, each taking more or less periodic sampling from different bands of frequencies – from timbre to phrase length and beyond. In order to acknowledge both the primitive structures of our complex hearing mechanisms and the different profiles of listeners, it is suggested that this multiple-sampling strategy may operate in a parallel way at a much larger scale, thereby allowing us to integrate the listener’s preference for pacing, contrast and densities of activity into the sensory processing of a musical work. The article is enriched by insights from soundscape pioneer Hildegard Westerkamp relating to various aspects of the discussion, from sensory overload to ecological concerns to the natural rallentando of a soundwalk. Finally, a whimsical elaboration based on the analogy of time as a river is presented in order to incorporate a more organic set of characteristics into our appreciation of music and time.
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Norris, Christopher. "In Defence of 'Structural Listening': Some Problems With the New Musicology." Musicological Annual 41, no. 2 (December 1, 2005): 19–45. http://dx.doi.org/10.4312/mz.41.2.19-45.
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This essay raises a number of issues with regard to recent developments in music theory. Among them is the turn against 'analysis' or 'structural listening' on account of their (supposed) investment in a discourse of mainstream musicology whose aim is to perpetuate the canon of acknowledged 'great works' and the kinds of elitist value-judgement that are conventionally applied to such works. Along with this goes the idea – derived from Paul de Man and exponents of literary deconstruction – that notions such as those of 'organic form', structural unity, thematic integration, long-range tonal or harmonic development, etc., are products of a certain 'aesthetic ideology' with dubious, even sinister, implications when transposed to the wider realm of cultural politics. I maintain that this is a false, or at any rate a highly tendentious line of thought which itself involves the illicit transposition from one domain (that of literary criticism) where such arguments have a certain force to another (that of music theory) where they simply don't apply unless by a great and implausible stretch of analogy. Thus de Man's case against naively organicist readings of poetic metaphor which assume a direct continuity (even identity) between mind and nature, subject and object, or language and phenomenal intuition must appear distinctly off-the-point when applied to our sensuous but also conceptually-informed experience of music. My essay pursues these questions via a reading of various theorists on both sides of the debate, including Adorno, whose emphasis on the virtues of 'structural listening' as a means of resistance to routine, habitual, or ideologically conditioned modes of response offers perhaps the most powerful rejoinder to this current revolt against analysis in all its forms. I go on to remark that those forms have been far more diverse – and often less committed to a hard-line organicist creed – than their detractors like to make out, tending as they do to equate 'analysis' with Heinrich Schenker's deeply conservative, dogmatic, and ideologically-loaded approach. In support of my counter-argument I draw on various developments in cognitive science and the psychology of perception, along with a recent debate between the philosophers Peter Kivy and Jerrold Levinson concerning the latter's highly controversial claim that musical understanding is limited to very short stretches of temporal (retentive and anticipatory) grasp. I conclude that our appreciation of music can be greatly deepened and enriched by the kinds of sustained or long-range structural comprehension that analysis seeks to provide, and that any theory which rules this out – or puts it down to mere 'aesthetic ideology' – is ipso facto on the wrong track.
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Richter, Kristen R., Amirah N. Nasr, and Angela M. Mexas. "Cytokine Concentrations Measured by Multiplex Assays in Canine Peripheral Blood Samples." Veterinary Pathology 55, no. 1 (August 16, 2017): 53–67. http://dx.doi.org/10.1177/0300985817725388.
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Cytokines are known to play important roles in a wide range of pathologic conditions spanning all organ systems in every species studied. As our knowledge of the physiology of individual cytokines expands and our ability to measure multiple cytokines in smaller biological samples increases, we gain more insight into the significance and function of each cytokine and the importance of cytokine networks. Previous studies that reported measurements of cytokine concentrations from serum or plasma in dogs with infectious, autoimmune, metabolic, endocrine, and neoplastic diseases yield an appreciation for the complexity of cytokine control and potential applications for cytokine measurements in the diagnosis, prognosis, and therapy of a variety of disease conditions. In this review, we highlight the benefits of multiplex cytokine analysis, summarize clinical and experimental reports that have used this technology in dogs, and discuss the strengths and limitations of data analysis for the interpretation of results in these studies. We describe how differences in technical acuity, data reporting tactics, statistical analysis, study population selection criteria, and cross-sectional experimental design methods may affect interpretation of results from this technology. We also suggest methods for analysis in future studies, such as reporting median fluorescence intensity values, analyzing the proportion of patients above population medians, and performing longitudinal studies.