Journal articles on the topic 'Tempo musicale'
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Mazzoni, Augusto. "Fenomenologia, coscienza del tempo e analisi musicale." Axiomathes 6, no. 2 (September 1995): 227–49. http://dx.doi.org/10.1007/bf02284703.
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Cavallini, Ivano. "Alcune osservazioni sulla cultura musicale a Capodistria al tempo di Antonio Tarsia." Musicological Annual 30, no. 1 (December 1, 1994): 23–28. http://dx.doi.org/10.4312/mz.30.1.23-28.
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Fubini, Enrico. "Esecuzione e interpretazione: la vita dell’opera musicale attraverso il tempo." Philosophy of Music 74, no. 4 (December 30, 2018): 1527–34. http://dx.doi.org/10.17990/rpf/2018_74_4_1527.
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Lavinia Rizzo, Amalia, and Maristella Croppo. "La prova di accesso per le scuole secondarie ad indirizzo musicale (SMIM): una proposta inclusiva." EDUCATIONAL REFLECTIVE PRACTICES, no. 2 (December 2021): 211–21. http://dx.doi.org/10.3280/erp2-special-2021oa12951.
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Le difficoltà di inclusione tipiche della scuola secondaria di I grado sono note da tempo e, secondo le più recenti indagini, non accennano a diminuire. Al fine di favorire il successo formativo di tutti gli allievi è quindi indispensabile individuare modalità sostenibili per ridefinire l'impostazione del curricolo in senso inclusivo, con l'individuazione di linee di impiego più efficace delle risorse già a disposizione del sistema scolastico. Tra queste risorse, la presenza della musica come disciplina curricolare e il suo potenziamento con l'insegnamento dello strumento musicale nelle scuole secondarie di I grado ad indirizzo musicale rappresentano una grande opportunità che non può essere trascurata. In questa prospettiva, il contributo presenta alcuni risultati di una ricerca che ha coinvolto le scuole secondarie di I grado ad indirizzo musicale del territorio nazionale al fine di individuare linee guida utili a migliorare il livello di inclusione dell'insegnamento dello strumento musicale. In particolare, si presentano i risultati relativi all'elaborazione di una prova di accesso a carattere inclusivo che consenta di far emergere l'attitudine musicale degli allievi con bisogni educativi speciali.
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Natanson, Mireille. "Vivre son tempo personnel. Une approche énergétique et musicale des rythmes de vie." Imaginaire & Inconscient 28, no. 2 (2011): 33. http://dx.doi.org/10.3917/imin.028.0033.
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Bertoloni, Luca. "Commedia, mini-musical e flussi mediali: L’Inferno in sei minuti degli Oblivion." Dante e l'Arte 9 (December 22, 2022): 131–48. http://dx.doi.org/10.5565/rev/dea.172.
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In questo saggio si metteranno in mostra, attraverso una prospettiva mediologica e intersemiotica, i meccanismi testuali, intertestuali e performativi con cui il gruppo teatrale-musicale italiano Oblivion ha ri-mediato la prima cantica della Commedia dantesca in un prodotto audiovisivo e performativo ibrido – un mini-musical dal titolo L’Inferno in sei minuti –, che affonda le radici in più immaginari, da quello letterario fino al paesaggio intermediale alimentato dalla popular music italiana. Tale occasione permette anche di riflettere – più in generale – sulle modalità con cui un’opera letteraria ben impressa nell’immaginario nazionale può essere ri-mediata nel contesto postmediale, consentendo nello stesso tempo una riflessione sugli approcci mainstream alla conoscenza di Dante, la quale risulta fortemente vincolata al canone scolastico, come si può notare analizzando i prodotti realizzati dagli Oblivion legati alle opere letterarie.
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Ancona, Riccardo, and Alessandro Cipriani. "Agostino Di Scipio, Circuiti del Tempo - un percorso storico-critico nella creatività musicale elettroacustica e informatica. Lucca: LIM, Libreria Musicale Italiana, 2021. ISBN: 9788855430685." Organised Sound 27, no. 1 (April 2022): 100–101. http://dx.doi.org/10.1017/s1355771822000152.
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Silva, Rafael Alexandre da. "A dupla verdade na estética de Hanslick." Revista da Tulha 3, no. 1 (October 30, 2017): 219–48. http://dx.doi.org/10.11606/issn.2447-7117.rt.2017.139523.
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O texto Il Bello musicale, de Eduard Hanslick, que é referência, no que tange à estética musical como um todo, até os dias atuais, possui contradições de pensamento, algumas das quais revisitadas pelo seu autor no curso da vida bibliográfica de sua obra, mas que, ao invés de serem de fato problemáticas de um ponto de vista teórico, transparecem uma dupla verdade no pensamento de Hanslick. Ao se analisar os textos e as modificações feitas pelo autor, bem como a origem dos conceitos utilizados por Hanslick em seu trabalho, partindo de uma abordagem metalinguística dos conceitos por ele utilizados, e observando-se as terminologias, metáforas e analogias por ele empregadas, é possível notar a evolução de duas linhas de pensamento que coexistem: uma de caráter analítico que, de fato, baseia o célebre formalismo hanslickiano, e que faz coincidir o plano dos conteúdos musicais com o plano gramático-sintático da música, restando, assim, a “pura forma”; e a outra insere, por outro lado, a estética musical de Hanslick em uma tradição de atribuição de conteúdos musicais por meio de analogias e metáforas já incorporadas pela própria teoria musical enquanto única possibilidade de se falar sobre música, haja vista a necessidade de se tratar de uma linguagem (a música) através de outra (a língua). Por fim, essa dualidade, aparentemente contraditória, pode ser explicada também através do conceito de semântica atribuída por direito, desenvolvido por Gyorg Lukács, no qual, devido à natureza puramente sonora da música, tal dualidade se dissolveria na necessidade de tratá-la, por direito de uso, ao mesmo tempo, tanto de um ponto de vista formalista quanto conteudista, donde os significados se dão por atribuições de sentidos que estão além da própria música, e que são necessários à reflexão estética sobre música.
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Cont, Arshia, and Martine Rhéaume. "Synchronisme musical et musiques mixtes : du temps écrit au temps produit." Circuit 22, no. 1 (April 30, 2012): 9–24. http://dx.doi.org/10.7202/1008965ar.
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Le synchronisme musical est essentiel à l’interprétation de la musique écrite. La capacité de synchronisation et de coordination en temps réel entre plusieurs musiciens sur scène, interprétant chacun sa propre partie et donnant un résultat d’ensemble cohérent, est un acquis commun des musiciens, qui pose des défis intéressants à l’intelligence artificielle ainsi que la pratique musicale de la musique mixte, afin de pouvoir la ramener dans un contexte d’interaction entre les musiciens et la machine. Cet article étudie la question du synchronisme musical dans la musique mixte, une problématique qui est présentée sous l’angle des aspects pratique, artistique et technologique, et expose des points de vue historiques et récents autour des sujets de recherches musicales connexes a cette problématique.
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MATELLI, ELISABETTA. "MUSICOTERAPIA E CATARSI IN TEOFRASTO." Bulletin of the Institute of Classical Studies 47, no. 1 (December 1, 2004): 153–74. http://dx.doi.org/10.1111/j.2041-5370.2004.tb00249.x.
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Abstract Si propone una nuova interpetazione di Teofrasto, Historia Plantarum IV. 11.1–9 dedicato alla descrizione di due tipologie di ance per aulo: il passo è stato messo a confronto con le esperienze pratiche di costruzione e uso di questo tipo di imboccatura ancora vive in zone grecaniche della Calabria, documentate da fotografie e da una registrazione dei suoni (accessibili nella pagina web http:www.unicatt.itdocentimatelli). Anche in altre opere Teofrasto si è occupato dell'aulo per descriverne gli effetti terapeutici e catartici. Si approfondiscono le questioni musicali implicate in tali testimonianze (tipo di strumento musicale, concetti di ‘genere’, ‘amonia’, ‘ritmo’), offrendo alcune esemplificazioni esecutive nella pagina web attraverso il suono dell'aulo (suonato dal M.stro C. Crucitti). Infine la nozione di ‘catarsi’ viene studiata all'interno della filosofia di Teofrasto, dove fisiologia umana, psicologia, poetica e musica sono teoreticamente collegate in un sistema unitario. Particolare importanza viene data al collegamento dell'idea di ‘entusiasmo’ a quella di ‘catarsi’, entrambe esperienze sia fisiologiche che psichiche, e al tempo stesso ‘poetiche’: una intima unione collega l'esperienza poetico/estetica alla condizione psico-fisica dell'individuo.
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Gammaitoni, Milena. "Artisti stranieri in Italia. Storia e storie di vita dell'Orchestra di Piazza Vittorio." MONDI MIGRANTI, no. 2 (August 2021): 213–32. http://dx.doi.org/10.3280/mm2021-002012.
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Quando l'artista è uno straniero, un migrante, in che modo oggi può vivere e lavo-rare in Italia? La ricerca sull'Orchestra di Piazza Vittorio, la prima orchestra mul-tietnica italiana, è iniziata dalla sua fondazione, nel 2002. L'obiettivo iniziale era quello di esplorare l'esempio di una buona prassi nell'integrazione di diverse etnie di immigrati. È stata condotta osservazione strutturata e semi-partecipante delle prove per i concerti e sono state raccolte, nell'arco di 15 anni, le storie di vita di ogni musicista nelle diverse fasi dell'orchestra. In un secondo tempo l'attenzione si è focalizzata sulla sua inevitabile trasformazione e sull'originalità della creazione musicale, sempre ricca di progetti e contenuti sociali.
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Tamir-Ostrover, Hila, and Zohar Eitan. "Higher is Faster." Music Perception 33, no. 2 (December 1, 2015): 179–98. http://dx.doi.org/10.1525/mp.2015.33.2.179.
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While determining an appropriate tempo is crucial to music performers, composers and listeners, few empirical studies have investigated the musical factors affecting tempo choices. In two experiments we examined how aspects of musical pitch affect tempo choice, by asking participants (musically trained and untrained) to adjust the tempi of melodic sequences varying in pitch register and pitch direction, as well as sequences typically associated with specific registers in common period music. In Experiment 1, faster tempi were assigned to higher registers. Specific melodic direction (rise vs. fall) did not affect tempo preferences; nevertheless, pitch change in both directions elicited faster tempi than a repeating, unchanging pitch. The effect of register on tempo preference was stronger for participants with music training, and also (unexpectedly) for female participants. In Experiment 2, melodic figures typically related to lower and higher parts in common-period music were associated with slower and faster tempi, respectively. Results support a “holistic” notion of musical tempo, viewing the choice of proper tempo as determined by interactions among diverse musical dimensions, including aspects of pitch structure, rather than by rhythmic considerations alone. The experimental design presented here can be further applied to explore the effects of other musical parameters on tempo preferences.
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De Mutiis, Emiliano, and Gianluca Amatori. "Life skills and inclusive processes: the playful-musical laboratory between teacher training and teaching practice." Form@re - Open Journal per la formazione in rete 22, no. 3 (December 31, 2022): 144–59. http://dx.doi.org/10.36253/form-13760.
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Life skills are increasingly essential to effectively face the human and digital transitions that our time imposes on us. Among all areas, school certainly represents an ideal environment for learning them, having always played a central role in the development of socialization and collaboration processes. The present study aims to offer a theoretical framework and a possible application example based on the convergence of four components capable of stimulating these transversal skills in different ways: music, digital technologies, playful approach, laboratory teaching. Thanks to the use of digital technologies and Ableton Live software, we will analyze how pupils can learn the basic principles of musical composition through improvisation, within a playful and cooperative context. By offering a convergence of all these components in a single format, the specialization course for educational support activities for pupils with disabilities is the ideal starting point for the teacher to equip himself with this multi-perspective view.
Life skills e processi inclusivi: il laboratorio ludico-musicale tra formazione docenti e pratica didattica.
Le life skills sono sempre più indispensabili per affrontare efficacemente le transizioni umane e digitali che il nostro tempo ci impone. Tra tutti gli ambiti, la scuola rappresenta sicuramente un ambiente ideale per il loro apprendimento, avendo da sempre un ruolo centrale nello sviluppo dei processi di socializzazione e collaborazione. Il presente studio vuole offrire una cornice teorica e un possibile esempio applicativo basati sulla convergenza di quattro componenti in grado di sollecitare in modi diversi tali competenze trasversali: musica, tecnologie digitali, approccio ludico, didattica laboratoriale. Grazie all’utilizzo di tecnologie digitali e del software Ableton Live, si analizzerà come gli alunni possano apprendere i principi base della composizione musicale attraverso l’improvvisazione, all’interno di un contesto ludico e cooperativo. Offrendo una convergenza di tutte queste componenti in un unico format, il corso di specializzazione per le attività di sostegno didattico agli alunni con disabilità si pone come luogo di partenza ideale per il docente per dotarsi di tale sguardo multi prospettico.
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Sounac, Frédéric. "L’idéalité musicale du roman : dissolution ou renaissance ?" III. Arts, no. 125-126 (November 12, 2021): 215–30. http://dx.doi.org/10.7202/1083873ar.
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L’idée d’une tension des formes romanesques vers les structures musicales, étroitement dépendante du projet romantique de « poésie universelle progressive », s’impose progressivement, accompagnant le mouvement d’absolutisation de la musique instrumentale, à partir de la toute fin du xviiie siècle. Cet article se consacre dans un premier temps au rappel des principaux attributs de ce dispositif utopique, appelé méloforme, pour observer ensuite ce que l’on peut appeler sa sécularisation : coupé de la foi romantique en la suprématie de l’art et privé de ses racines ontologiques, le roman « musical » a tendance, après la Seconde Guerre mondiale, à adopter une attitude plus pragmatique, s’incarnant notamment en des récits moins totalisants, souvent isomorphiques d’opus musicaux singuliers. Dans la période récente, avec des romans tels que Le temps où nous chantions de Richard Powers, Apologie de la fuite de Léonid Guirchovitch, Confiteor de Jaume Cabré ou encore Central Europe de William T. Vollmann, il semble que l’on assiste à une « renaissance » de fictions complexes et ambitieuses, polyphoniques et réflexives, renouant, sans pour autant revenir à l’ensemble de la doctrine romantique, avec l’idée d’une idéalité musicale du texte littéraire.
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Quinziano, Franco. "Ecos cervantinos en los escenarios italianos del XVIII. Baretti y Corsetti: dos modelos de apropiación e inversión." Cuadernos de Estudios del Siglo XVIII, no. 26 (October 27, 2017): 111. http://dx.doi.org/10.17811/cesxviii.26.2016.111-135.
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RESUMENLa presencia del Quijote en los escenarios italianos del XVIII constituye aún un campo parcialmente abonado por la crítica. Las diversas recreaciones cervantinas del período nos hablan de una importante presencia y recepción de temas y motivos en la cultura italiana, siendo estas piezas —no sólo las óperas serias o bufas, sino también las composiciones cómicas breves— verdaderas canteras aún por explorar. En dicha perspectiva se examinan dos intermezzi de clara derivación quijotesca, Don Chisciotte a Venezia (Baretti) y Don Chisciotte nella selva di Alcina (Corsetti), en los que la figura del caballero andante, implantado en ambientes festivos y carnavalescos, es despojada de toda dignidad literaria, al tiempo que se percibe una inversión en la configuración de su perfil moral. Ambas piezas confirman este proceso de apropiación e inversión en el que se plasman nuevas reencarnaciones del famoso hidalgo, recargando las tintas sobre los componentes satíricos y paródicos, a través de un proceso de reelaboración textual en el que la comicidad se desplaza hacia ámbitos decididamente grotescos y caricaturescos.PALABRAS CLAVEQuijote, recreaciones cervantinas, teatro musical, siglo XVIII, Baretti, Corsetti. TITOLOPresenze cervantine negli scenari italiani del Settecento. Baretti e Corsetti: due modelli di appropriazione e inversioneSOMMARIOLa presenza e ricezione del Quijote negli scenari italiani del Settecento costituisce ancora un campo parzialmente affrontato dalla critica. I diversi rifacimenti del periodo per il teatro musicale ci parlano di una importante presenza e ricezione di temi e motivi cervantini nella cultura italiana, essendo questi componimenti —non solo le opere serie o buffe, ma anche i sottogeneri comici e giocosi brevi— vere e proprie miniere da esplorare. In questa prospettiva lo studio esamina due brevi libretti di chiara derivazione chisciottesca, Don Chisciotte a Venezia (Baretti) e Don Chisciotte nella selva di Alcina (Corsetti), in cui la figura del cavalliere errante, inserito in ambienti festivi e carnavaleschi, è spogliata di ogni dignità letteraria, al tempo che si profila un processo di rovesciamento e inversione del suo profilo morale. Questi due intermezzi confermano un singolare processo di appropriazione e di rovesciamento rispetto al romanzo cervantino, in cui si plasmano nuove reincarnazioni del celebre protagonista, enfatizzando gli elementi satirici e parodici attraverso un processo di rielaborazione testuale in cui la comicità si sposta verso contesti decisamente grotteschi.PAROLE CHIAVIDon Chisciotte, rifacimenti cervantini, teatro musicale, Settecento, Baretti, Corsetti.
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Iwanaga, Makoto, and Maki Tsukamoto. "Preference for Musical Tempo Involving Systematic Variations of Presented Tempi for Known and Unknown Musical Excerpts." Perceptual and Motor Skills 86, no. 1 (February 1998): 31–41. http://dx.doi.org/10.2466/pms.1998.86.1.31.
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Previous studies have indicated inconsistently that preferred tempo was moderate or fast. The basis for inconsistency might be differences in methods, i.e., differences in tempo operation and subjects' experience of listening to musical pieces. The present study examined the preference for tempo using known and unknown melodies which were presented at varied tempi systematically. 119 undergraduates not majoring in music were subjects, divided into three subgroups, slow, medium, and fast music groups according to tempi designated by composers. Subjects rated items about Perceived Activity and affect for each stimulus presented at varied tempi. Subjects evaluated fast tempi as active regardless of differences in the designated tempi and prior listening experience. Affect (including preference) showed an inverted-U shape relationship to variations in tempo. The most preferred tempo was the designated tempo for known melodies, while moderate tempi (109 to 130 in metronome measure) were preferred for unknown melodies.
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Fonterrada, Marisa Trench. "Lições que a fênix nos traz." Orfeu 6, no. 2 (September 10, 2021): 10–29. http://dx.doi.org/10.5965/2525530406022021010.
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Trata-se neste artigo das mudanças que ocorrem no mundo em diferentes épocas e discute-se a concepção de tempo mítico em relação ao tempo linear, como sugere Mircea Eliade, que vê na sociedade ocidental múltiplos exemplos do que ele denomina “eterno retorno”, isto é, a volta cíclica de fenômenos ocorridos em determinada época, a tempos posteriores. Como símbolo dessa ideia, traz-se a figura da fênix, pela sua capacidade de renascimento eterno. Pretende-se examinar alguns exemplos de educação musical ocorridas em diferentes momentos, esperando encontrar exemplos de retorno de antigas concepções de educação e de educação musical a outros lugares e tempos. No final, buscam-se exemplos de educadores musicais da atualidade por considerar suas atividades como respostas criativas à problemática vivida hoje e procura-se mostrar, também, que muitos dos procedimentos que eles adotam aproximam-se de concepções educacionais de épocas anteriores, de tal modo que torna-se difícil afirmar o que é realmente novo e o que é definitivamente antigo.
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Fonseca, Modesto Flávio Chagas. "O arquivo musical da Orquestra Lira Sanjoanense no tempo da Companhia de Muzica." LaborHistórico 8, no. 1 (September 20, 2022): 127–39. http://dx.doi.org/10.24206/lh.v8i1.47629.
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O arquivo de documentos musicais da Orquestra Lira Sanjoanense é constituído de grande quantidade de fontes que transmitem obras musicais para as mais diversas demandas de ritos na sociedade local, sejam religiosos ou de entretenimento. Ter em foco obras acumuladas no exercício das funções propostas pelo grupo musical denominado de Companhia de Múzica é oportunidade para uma imerssão na dinâmica social de São João del-Rei na primeira metade do século XIX, vislumbrada pela ótica da prática musical. Esta ação permite verificar a organicidade dos documentos produzidos por aqueles músicos com os propósitos da instituição musical por eles delineada.
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McKinney, Martin F., and Dirk Moelants. "Ambiguity in Tempo Perception: What Draws Listeners to Different Metrical Levels?" Music Perception 24, no. 2 (December 1, 2006): 155–66. http://dx.doi.org/10.1525/mp.2006.24.2.155.
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The distribution of listeners’ perceived tempi across large collections of music has been modeled previously by a resonance function with a peak near the “preferred tempo” of 120 beats per minute (BPM) [Van Noorden and Moelants, J. New Music Res., 28, 43–66]. Here, through a series of experiments in which listeners were asked to tap to the most salient pulse of musical excerpts,we examined distributions of tapped tempi from single musical excerpts to see if the global resonance of preferred tempo is dependent on musical content. Results show that for some musical excerpts, the distribution of perceived tempi conforms to the global resonant form in that metrical levels with tempi near 120 BPM were perceived as most salient, while for other excerpts the most saliently perceived tempo sat well above or below 120 BPM. We then used a model, which quantifies relative strengths of periodicities in the audio signal, to demonstrate that deviations from the “preferred tempo” can be partially explained by dynamic rhythmic accents drawing listeners to tempi away from the resonance.
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Chang Melis, Leiling. "Une démarche esthésique, ou le temps retrouvé : présentation critique de l’ouvrage Les écritures du temps de Michel Imberty." Canadian University Music Review 20, no. 2 (March 4, 2013): 80–93. http://dx.doi.org/10.7202/1014459ar.
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L’ouvrage Les écritures du temps (1981) de Michel Imberty est d’une importance capitale pour la musicologie contemporaine. De la psychologie expérimentale à la psychanalyse, Imberty développe une approche perceptive du style musical dont le but est l’interprétation de la musique en tant que symbolique du temps. Sa démarche est explicable à partir de la sémiologie musicale, qui en clarifie les principes. Imberty construit, avec précision et intelligence, une méthodologie pour l’observation du temps musical, et cela constitue son grand apport à la musicologie contemporaine. Cet essai cherche à mettre en relief les notions et postulats fondamentaux de sa pensée.
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Septianto, Felix. "“Chopin” effect? An exploratory study on how musical tempo influence consumer choice of drink with different temperatures." Asia Pacific Journal of Marketing and Logistics 28, no. 5 (November 14, 2016): 765–79. http://dx.doi.org/10.1108/apjml-11-2015-0182.
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Purpose The purpose of this paper is to explore the effect of musical tempo on consumer choice of tea in different temperatures. Design/methodology/approach Across two studies, participants were asked to listen to several musical stimuli with different tempi (i.e. slow or fast). Then, they were asked to evaluate and choose one drink (i.e. iced tea or hot tea). Findings Results suggest that consumers who listen to fast (slow) tempo music are more likely to choose iced (hot) tea. This effect is robust across different musical modes (i.e. major or minor) (Study 1). However, this musical tempo effect is attenuated when the participants are aware that the music they listened to can influence their judgments (Study 2). Research limitations/implications This research is an exploratory study. Thus, further examinations are needed to fully understand the underlying mechanism of this effect. Nonetheless, this research provides an initial evidence of the mediator of this effect. Originality/value This research explores how different musical tempi can influence consumer choice of hot or iced tea. Thus, this research adds understanding on how auditory cues (e.g. musical stimuli) can influence consumer choice of other food and drink variables (e.g. temperature).
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Repp, Bruno H., W. Luke Windsor, and Peter Desain. "Effects of Tempo on the Timing of Simple Musical Rhythms." Music Perception 19, no. 4 (2002): 565–93. http://dx.doi.org/10.1525/mp.2002.19.4.565.
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We investigated whether and how the timing of musical rhythms changes with tempo. Twelve skilled pianists played a monophonic eight-bar melody in 21 different rhythmic versions at four different tempi. Within bars, the rhythms represented two isochronous patterns and all possible ordered pairs and triplets of different note values with ratios from the set {3, 2, 1}. The three-note rhythms also occurred in each of two meters (3/4 and 6/8). Significant deviations from the notated interval ratios were observed in performances of most rhythms, even at the slowest tempo. The observed ratios of the two-note rhythms changed little with tempo. By contrast, those of the three-note rhythms showed increasing assimilation of the two longer intervals as tempo increased, while the relative duration of the short interval was barely affected by tempo. These results replicate previous findings of Fraisse (1956), obtained in a nonmetrical and non-musical context. At fast tempi, the distinction between three different interval durations seems difficult to maintain.
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Iwanaga, Makoto. "Relationship between Heart Rate and Preference for Tempo of Music." Perceptual and Motor Skills 81, no. 2 (October 1995): 435–40. http://dx.doi.org/10.1177/003151259508100215.
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People prefer music with tempi ranging from 70 to 100 cycles per minute similar to that of adults’ heart rate within normal daily situations. Previous studies of the relation between preferred tempi and heart rates using a pure tone also have indicated that subjects tended to prefer tempi similar to their heart rates. The present study examined this relationship using a musical piece (the theme of “It's a small world”) as a stimulus. 14 undergraduate women were subjects who searched for their favorite tempi by controlling the musical tempo by themselves. The most preferred tempo was close to their cycle of heart beats, however, tempi that were one and a half and twice as fast as the heart rate were less preferred in the present study than in a previous study using a tone. Subjects preferred faster tempi in the descending series of stimuli than in the ascending one, and hence were influenced by the initial value of the tempo in the trial sequence. The effects due to the differences of the meaning of the stimuli are considered.
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Villeneuve, Johanne. "La symphonie-histoire d’Alfred Schnittke." Raconter, no. 2 (August 9, 2011): 11–29. http://dx.doi.org/10.7202/1005454ar.
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Cet article propose, dans un premier temps, une définition de l’intermédialité fondée sur les « qualités médiatiques ». Dans un deuxième temps, il prend pour exemple la Symphonie nº 1 d’Alfred Schnittke, composée à partir d’archives cinématographiques du XXe siècle. La complexité archéologique du travail musical de Schnittke tient à deux effets qui ne sont pas étrangers l’un à l’autre : le sens de l’intrigue qui pénètre ces compositions musicales, et la dimension archivistique qui, de la matérialité des films en tant que « documents de travail », passe dans la musicalité. Ce travail s’organise autour de deux axes narratifs : une impossible histoire de la musique en miroir d’une impossible histoire humaine; une mise en intrigue intermédiatique et souterraine dont le pôle d’attraction est l’indescriptible événementialité de la Seconde Guerre mondiale. Le croisement de la narrativité musicale et de la narrativité cinématographique y fait apparaître des « enchantements » qui tiennent aux « traces de l’oralité », soit aux qualités médiatiques du son et à la performance des corps. La narrativité historique se trouve alors critiquée et renversée par la transfiguration vivante de la technique.
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Socha, Eduardo. "Para um conceito materialista de tempo musical. A teoria dos tipos nos fragmentos de Adorno sobre Beethoven." Discurso 49, no. 1 (June 24, 2019): 161–84. http://dx.doi.org/10.11606/issn.2318-8863.discurso.2019.137800.
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Pretende-se expor os elementos principais da teoria dos tipos, que encontramos nos Beethoven-Fragmente, de Theodor W. Adorno. Por meio desse modelo de pensamento, Adorno esclarece os critérios orientadores de seu conceito de tempo musical, que se particulariza criticamente nos escritos musicais posteriores, como as monografias sobre Wagner, Mahler e Berg, os ensaios sobre Stravinsky e as conferências sobre o serialismo pós-Webern. A teoria dos tipos envolveria as diferentes modalidades de “relação da música com o tempo em geral”. Além da exposição teórica, articulada à interpretação do tempo em Hegel, propõe-se a análise técnica de peças de Beethoven, sobretudo do 1º movimento da 3a Sinfonia, obra que fundamentaria in musicis o conceito adorniano de tempo musical.
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Duchesneau, Michel. "La Revue musicale ou le phoenix musical." Revue musicale OICRM 4, no. 2 (February 8, 2018): 19–34. http://dx.doi.org/10.7202/1043218ar.
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Lorsque le directeur de La Revue musicale sim, Jules Écorcheville, part pour le front en 1914, il écrit à son ami Émile Vuillermoz : Malgré le souhait d’Écorcheville, La Revue sim disparaîtra, mais pas pour longtemps puisqu’elle donnera naissance à deux nouveaux organismes en 1917 et 1920. Pendant la guerre, les anciens de La Revue sim dont Lionel de La Laurencie, vont créer la Société française de musicologie (sfm) sur les ruines de la Société internationale de musique et publieront un Bulletin qui deviendra la Revue de musicologie. Loin de l’actualité, s’écartant délibérément du contexte sociopolitique et culturel, la sfm et son Bulletin favoriseront une approche très « scientifique » et relativement nouvelle en France, de la musicologie, bien qu’encore teintée par les tendances historicisantes à la manière de la Schola Cantorum et écartant pour un temps toute la musicologie germanique. En parallèle, sous les auspices du musicologue Henry Prunières qui s’écarte résolument de la sfm, est créée La Revue musicale. C’est à partir d’un réseau international qui place la musicologie française au coeur de l’action musicale contemporaine que Prunières établit de nouvelles alliances avec le milieu des arts et de la littérature pour fonder l’une des plus célèbres revues musicales de la première moitié du xxe siècle. À partir de documents inédits, nous étudierons les circonstances qui mènent à la refondation de La Revue musicale sur les cendres de la Revue sim entre 1915 et 1919. Nous verrons ainsi comment les hasards de la guerre mènent Prunières à entreprendre la carrière d’éditeur et comment le musicologue conçoit le projet international de la revue dans un contexte de guerre qui contribue à une redéfinition des cultures nationales. Il est difficile d’extrapoler sur ce qu’aurait pu être l’avenir de La Revue musicale sim si la guerre n’avait pas eu lieu. Il est par contre possible de documenter et de comprendre le rôle que la Grande Guerre jouera dans l’essor d’une nouvelle dynamique pour la musicologie française dont la division d’abord justifiée par le conflit aura des conséquences à long terme sur l’échiquier international de la discipline.
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Trochidis, Konstantinos, and Emmanuel Bigand. "Investigation of the Effect of Mode and Tempo on Emotional Responses to Music Using EEG Power Asymmetry." Journal of Psychophysiology 27, no. 3 (July 1, 2013): 142–48. http://dx.doi.org/10.1027/0269-8803/a000099.
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The combined interactions of mode and tempo on emotional responses to music were investigated using both self-reports and electroencephalogram (EEG) activity. A musical excerpt was performed in three different modes and tempi. Participants rated the emotional content of the resulting nine stimuli and their EEG activity was recorded. Musical modes influence the valence of emotion with major mode being evaluated happier and more serene, than minor and locrian modes. In EEG frontal activity, major mode was associated with an increased alpha activation in the left hemisphere compared to minor and locrian modes, which, in turn, induced increased activation in the right hemisphere. The tempo modulates the arousal value of emotion with faster tempi associated with stronger feeling of happiness and anger and this effect is associated in EEG with an increase of frontal activation in the left hemisphere. By contrast, slow tempo induced decreased frontal activation in the left hemisphere. Some interactive effects were found between mode and tempo: An increase of tempo modulated the emotion differently depending on the mode of the piece.
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Yannou, Démètre. "Ο Ορφέας στην μουσική και στην μουσικοθεωρητική σκέψη των νεότερων χρόνων (15ος-17ος αιώνας)." Σύγκριση 11 (January 31, 2017): 22. http://dx.doi.org/10.12681/comparison.10764.
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L a légende d'Orphée a eu un retentissement particulier dans la musique et dans la pensée musicale des temps modernes. Grâce à la transmission de la légende à travers la littérature et la théorie de la musique du Moyen Âge, le personnage d'Orphée se présente, surtout pendant le XVe, le XVIe et le XVIIe siècle, comme allégorie de la musique à laquelle se réfère aussi bien la musique que la théorie de la musique. Pour la théorie de la musique, la légende d'Orphée s'inscrit dans la tradition de la doctrine des effectus musices. Dans ce cadre, la légende, de même que tous les mythes antiques se référant aux effets de la musique, a une double fonction au début des temps modernes. La première est de livrer des exemples attestant la théorie. Ces exemples subissent un examen critique qui va de la réfutation des faits racontés jusqu'à leur interprétation au moyen de forces naturelles. La deuxième fonction est de fournir des points de repère pour la conception de la réalité musicale de l'époque. Cette fonction concerne le public des milieux de la vie musicale de la Renaissance et du début du XVIIe siècle et elle se manifeste plutôt dans l'historiographie galante que dans la théorie de la musique . proprement dite. Pour la création musicale, le personnage d'Orphée représente d'un côté l'allégorie de la force de l'homme, et de l'autre, à travers la dramatisation de la légende, la force de la musique et plus spécialement du chant — champ d'expression par excellence de l'opéra naissant. «A partir du XVIIIe siècle, avec la naissance de l'acoustique moderne, la référence aux légendes de l'Antiquité disparaît de la théorie de la musique. Par contre, dans la création musicale, la légende d'Orphée continue de susciter l'intérêt des compositeurs jusqu' à la fin du XXe siècle. Néanmoins, la place des premières œuvres musicales inspirées par cette légende au début des temps modernes reste unique dans l'histoire de la musique, parce que ces œuvres s'inscrivent dans une époque pour laquelle la référence aux légendes musicales de l'Antiquité constituait un lieu de convergence de la théorie de la musique, de la création musicale et de la conception que les contemporains eux-mêmes se formaient de la réalité musicale de leur temps.
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Bartolomé Martínez, Bernabé. "Enseñanza de la música en las catedrales." Anuario de Estudios Medievales 21, no. 1 (April 2, 2020): 607. http://dx.doi.org/10.3989/aem.1991.v21.1129.
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Ce travail prétend faire apparaître le rôle, dans les cathédrales espagnoles, de l'activité éducatrice dans le domaine de la culture musicale, sur un secteur choisi de l'enfance. Dans une première partie, nous essayons de voir le role historique joué par la figure du maitre éducateur des petits chanteurs en tant que directeur de toute l'activité musicale dans les cathédrales. Nous étudions, à propos de ces enfants, l’origine de leur nom, les critères de sélection pour leur acceptation dans le choeur, leur origine sociale et la règlementation de la vie en internat et ceci, à travers les statuts de la cathédrale. Dans une deuxième partie, nous attirons l'attention sur l’historial de l'enseignement musical, le temps dédié à l'apprentissage et les interventions musicales postérieures des enfants de choeur lors des fonctions liturgiques. Nous analysons les méthodes et les stratégies utilisées au cours de la préparation corporelle, psychologique et technique qui a une influence permanente sur le rendement adéquat en ce qui concerne le chant. La personne qui travaille et enseigne directement à l'enfant ces techniques est le maître de chapelle du chapitre de la cathédrale. Les débuts incertains de l'étape médiévale culminèrent, déjà au moment de la renaissance, dans la scolaristation de ces enfants dans des centres spécialisés qui étaient connus à l'époque comme écoles d'enfants.
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Cruz, Angely Costa. "CHIQUINHA GONZAGA, UMA MULHER À FRENTE DE SEU TEMPO E A FORMAÇÃO DA MÚSICA POPULAR BRASILEIRA." Revista Ibero-Americana de Humanidades, Ciências e Educação 8, no. 5 (May 31, 2022): 1319–28. http://dx.doi.org/10.51891/rease.v8i5.5390.
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O orbe social lastreado entre 1847 e 1935, época em q historiagrafica brasileira demostrou que não existia as composições musicais genuinamente brasileiras, emergiu a , a compositora e musicista Chiquinha Gonzaga, nascida em 1847, a data do seu falecimento situa-se em 1935. A primeira maestrina do Brasil, despontou no cenário musical de seu tempo como um fenômeno popular e recordista de vendas. Retratada como uma musicista rebelde. O comportamento transgressor não parava de escandalizar a sociedade de seu tempo; passou a viver como musicista independente, tocando em lojas de instrumentos musicais, ministrando aulas de piano e disciplinas escolares, entrou também para o conjunto orquestral, “Choro do Callado”, do amigo e músico Joaquim Antonio da Silva Callado Júnior (1848–1880), aperfeiçoou sua técnica com o pianista português Artur Napoleão (1843–1925), enquanto estudava orquestração como autodidata, se tornou a primeira pianista (ou pianeira de choro, forma pejorativa para se referir à músicos populares na época) e viveu intensamente a boêmia carioca nos teatros e em saraus musicais que reuniam os compositores e intelectuais da época. Assim, com liberdade criativa, nasceria a verdadeira compositora, e logo viria seu primeiro grande sucesso: a polca “Atraente”, que abriu alas para um imenso repertório musical, e para o desespero dos Neves Gonzaga também.
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Iwanaga, Makoto. "Harmonic Relationship between Preferred Tempi and Heart Rate." Perceptual and Motor Skills 81, no. 1 (August 1995): 67–71. http://dx.doi.org/10.2466/pms.1995.81.1.67.
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Since people tend to prefer musical tempi ranging from 70 to 100 beats per minute, cyclic physiological response like heart rate is considered one of the factors affected by tempo preference. The present study aimed to examine the relationship between preferred tempi and heart rate. Subjects were instructed to find their favorite tempi while their heart rates were being measured. The presented tone stimulus was 440 Hz, 60 dB pressure of pure tone, and the presented tempo varied from 10 to 300 cycles per minute. The relationship between heart rate and preferred tempo was examined to calculate the density function of ratios of preferred tempi to heart rate. This density function indicated that preferred tempi were distributed mostly one, one and a half, and two times as fast as heart rate. This finding indicated preferred tempi had a simple harmonic relationship to heart rate.
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Nicolas, François. "La troisième audition est la bonne (De l'audition musicale conçue comme une intégration)." Musicae Scientiae 1, no. 2 (July 1997): 165–81. http://dx.doi.org/10.1177/102986499700100202.
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On définit l'audition musicale comme le processus par lequel l'oreille tente d'édifier une unité de l'œuvre au fil du temps (au fur et à mesure done de son déroulement sensible), c'est-à-dire tente d'en dégager une Forme. On fait ensuite l'hypothèse que l'opération musicale d'audition s'apparente à l'opération mathématique d'intégration: l'oreille élabore l'unité de l'œuvre en «intégrant» celle-ci. On s'appuie alors sur la théorie mathématique de l'intégration (qui distingue les intégrates de Riemann, Lebesgue et Kurzweil-Henstock) pour catégoriser trois types d'audition musicale: l'audition spontanée, l'audition perceptive et l'audition réflexive. On éclaire ainsi le travail musical d'audition d'une œuvre comme passage cumulatif et ordonné de l'une à l'autre. On en déduit cette proposition: il convient d'écouter une œuvre au moins trois fois (dont la seconde, partition en mains) pour pouvoir en saisir l'unité selon le cours de son temps propre.
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Schellenberg, E. Glenn, Michael W. Weiss, Chen Peng, and Shayan Alam. "Fine-grained Implicit Memory for Key and Tempo." Music & Science 2 (January 1, 2019): 205920431985719. http://dx.doi.org/10.1177/2059204319857198.
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Listeners remember the pitch level (key) and tempo of musical recordings they have heard multiple times. They also have long-term implicit memory for the key and tempo of novel melodies heard for the first time in the laboratory. In previous research, however, the stimulus melodies were simple and repetitive and the changes in key or tempo were large. Here, we tested the limits of implicit memory for the key and tempo of more complex stimulus melodies. Musically trained and untrained listeners heard 12 novel melodies during an exposure phase and 24 (12 old, 12 new) during a subsequent test (recognition) phase. From exposure to test, half of the melodies were transposed up or down (changed in key) (Experiment 1), or sped up or slowed down (Experiment 2), but to varying degrees. Musically trained listeners displayed enhanced recognition, but transposing or changing the tempo of the melodies reduced performance similarly for all listeners. The effect of the key change did not wane as the transposition was reduced from 6 semitones to 1, but recognition in general was worse as the pitch range of the stimulus melodies increased. The magnitude of the tempo change had a very small effect on response patterns, but Bayesian analyses indicated that the observed data were more likely without considering magnitude. The results suggest that musically trained and untrained listeners have implicit memory for key and tempo that is remarkably fine-grained, even for melodies that are heard for the first time in the laboratory, such that small changes in either feature make a melody less recognizable.
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Stiegler, Bernard. "L’armement des oreilles : devenir et avenir industriels des technologies de l’écoute." Circuit 16, no. 3 (January 29, 2010): 33–42. http://dx.doi.org/10.7202/902410ar.
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L’auteur explore les conséquences pour la musique de son entrée dans l’ère machinique du son, qui comprend, entre autres, la désinstrumentalisation des oreilles, et la possibilité d’une écoute analytique, menant vers les moyens numériques qui permettent une nouvelle projection graphique du temps musical. Se basant sur des textes fondamentaux, notamment de Bartók et d’Adorno, sur les conséquences de la reproduction analogique du son sur les habitudes d’écoute, sur l’analyse musicale et sur le concept d’écriture même, l’auteur s’interroge sur les façons dont la science de la musique en général, ou son intelligence globale, a été et sera transformée par la numérisation, et notamment par une nouvelle représentation du temps musical.
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Oakes, Steve. "Musical tempo and waiting perceptions." Psychology and Marketing 20, no. 8 (July 15, 2003): 685–705. http://dx.doi.org/10.1002/mar.10092.
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Sundqvist, Maria, Jakob Åsberg Johnels, Jonas Lindh, Katja Laakso, and Lena Hartelius. "Syllable Repetition vs. Finger Tapping: Aspects of Motor Timing in 100 Healthy Adults." Motor Control 20, no. 3 (July 2016): 233–54. http://dx.doi.org/10.1123/mc.2014-0068.
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In this study we systematically compared syllable repetition and finger tapping in healthy adults, and explored possible impacts of tempi, metronome, musical experience, and age on motor timing ability. One hundred healthy adults used finger-tapping and syllable repetition to perform an isochronous pulse in three different tempi, with and without a metronome. Results showed that the motor timing was more accurate with finger tapping than with syllable repetition in the slowest tempo, and the motor timing ability was better with the metronome than without. Persons with musical experience showed better motor timing accuracy than persons without such experience, and the timing asynchrony increased with increasing age. The slowest tempo 90 bpm posed extra challenges to the participants. We speculate that this pattern reflects the fact that the slow tempo lies outside the 3–8 Hz syllable rate of natural speech, which in turn has been linked to theta-based oscillations in the brain.
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Krumhansl, Carol L. "A Perceptual Analysis of Mozart's Piano Sonata K. 282: Segmentation, Tension, and Musical Ideas." Music Perception 13, no. 3 (1996): 401–32. http://dx.doi.org/10.2307/40286177.
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The experiments reported here provide a perceptual analysis of the first movement of Mozart's Piano Sonata in Eb Major, K. 282. The listeners, who varied in the extent of their musical training, performed three tasks while listening to the piece as it was reproduced from an expert performance. The first task determined how the music is perceived to be segmented, the second task determined how the experience of tension varies over time, and the third task determined what listeners identify as new musical ideas in the piece. These tasks were performed first on the entire piece and then on smaller sections from the beginning. These three aspects of music perception are coordinated with one another and correlate with various musical attributes. Judgments of section ends co- occurred with peaks in tension and slow tempos. Judgments of new musical ideas co- occurred with low tension levels and neutral tempos. Tension was influenced by melodic contour, note density, dynamics, harmony, tonality, and other factors. Judgments of large-scale section ends were less frequent than judgments of new musical ideas, but these were more nearly one-to-one on smaller time scales. A subsidiary experiment examined the extent to which tension judgments were influenced by performed tempo and dynamics. Listeners made tension judgments for four different versions of the piece: as performed, constant dynamics (with tempo as performed), constant tempo (with dynamics as performed), and constant tempo and dynamics. The tension curves were generally very similar, deviating only in a few regions containing major section ends. The results are considered in light of the metaphor of tension applied to music and the analogy between music and linguistic discourse.
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Beineke, Viviane. "Aprendizagem musical criativa em tempos de pandemia." Orfeu 6, no. 2 (September 10, 2021): 30–47. http://dx.doi.org/10.5965/2525530406022021030.
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Este texto apresenta reflexões de cunho teórico sobre a educação musical em tempos de pandemia, quando as escolas de educação básica de redes públicas e privadas estiveram fechadas e as crianças receberam atividades escolares para serem realizadas em casa. Sem espaço físico e presencial para aulas de música, a elaboração de materiais didáticos para o ensino apresentou novos desafios. Nesse cenário, são colocados em discussão alguns eixos que nortearam a produção de materiais pedagógicos para o ensino fundamental, (re)pensando (im)possibilidades da aprendizagem criativa como fundamento teórico e abordagem metodológica para a produção de projetos criativo-musicais. Finalizando, são apresentados princípios que podem contribuir com a elaboração de projetos educacionais que favoreçam a escuta das crianças e o engajamento crítico e reflexivo no fazer musical, favorecendo a imaginação e abrindo perspectivas de conexão com a música, em casa.
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Furuya, Shinichi, and John F. Soechting. "Speed invariance of independent control of finger movements in pianists." Journal of Neurophysiology 108, no. 7 (October 1, 2012): 2060–68. http://dx.doi.org/10.1152/jn.00378.2012.
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Independent control of finger movements characterizes skilled motor behaviors such as tool use and musical performance. The purpose of the present study was to identify the effect of movement frequency (tempo) on individuated finger movements in piano playing. Joint motion at the digits was recorded while 5 expert pianists were playing 30 excerpts from musical pieces with different fingering and key locations either at a predetermined normal tempo or as fast as possible. Principal component analysis and cluster analysis using an expectation-maximization algorithm determined three distinct patterns of finger movement coordination for a keypress with each of the index, middle, ring, and little fingers at each of the two tempi. The finger kinematics of each coordination pattern was overall similar across the tempi. Tone sequences assigned into each cluster were also similar for both tempi. A linear regression analysis determined no apparent difference in the amount of movement covariation between the striking and nonstriking fingers at both metacarpo-phalangeal and proximal-interphalangeal joints across the two tempi, which indicated no effect of tempo on independent finger movements in piano playing. In addition, the standard deviation of interkeystroke interval across strokes did not differ between the two tempi, indicating maintenance of rhythmic accuracy of keystrokes. Strong temporal constraints on finger movements during piano playing may underlie the maintained independent control of fingers over a wider range of tempi, a feature being likely to be specific to skilled pianists.
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Coorevits, Esther, Dirk Moelants, Pieter-Jan Maes, and Marc Leman. "Exploring the effect of tempo changes on violinists’ body movements." Musicae Scientiae 23, no. 1 (June 19, 2017): 87–110. http://dx.doi.org/10.1177/1029864917714609.
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In expressive music performance, tempo is known to be a fundamental parameter. In this article, we explored effects of changes in musical tempo on performers’ movement articulations. Eight duos (piano – violin) played two pieces at a predefined tempo, after which this start tempo was gradually increased and decreased. Throughout the different performances, we measured acceleration of the violinists’ head and right wrist, together with the downward force applied by their body to the ground surface. We calculated periodicities in downward force using fast Fourier transform (FFT) analyses and tested whether differences occurred across different tempi. Also, we clustered acceleration and force patterns across different tempi using self-organizing maps (SOMs) and k-means clustering. The results show that a continuous change in performance tempo leads to distinct “performance states” with characteristic bodily behavior in terms of periodic body movement and co-articulated gestures, which supports theories of tempo-variant motor control.
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Bailes, Freya, and Linda Barwick. "Absolute Tempo in Multiple Performances of Aboriginal Songs: Analyzing Recordings of Djanba 12 and Djanba 14." Music Perception 28, no. 5 (June 1, 2011): 473–90. http://dx.doi.org/10.1525/mp.2011.28.5.473.
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songs that are not notated but transmitted through live performance are of particular interest for the psychological study of the stability of tempo across multiple performances. While experimental research points to highly accurate memory for the tempi of well-known recorded music, this study asks whether there is any evidence of absolute tempo in a performance tradition that does not draw on such reference recordings. Fifty-four field recordings of performances of one Aboriginal dance-song, Djanba 14, were analyzed. Results showed that over a span of 34 years, performance tempi deviated positively or negatively, on average, by 2%. Such small tempo variation is similar to JND thresholds to discriminate the tempi of isochronous sequences. Thirty-five field recordings of another song from the same repertory, Djanba 12, deviated in tempi by an average of 3%. We discuss the musical, psychological, physical, and cultural factors likely to shape such temporal stability.
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Hammerschmidt, David, Clemens Wöllner, Justin London, and Birgitta Burger. "Disco Time: The Relationship Between Perceived Duration and Tempo in Music." Music & Science 4 (January 1, 2021): 205920432098638. http://dx.doi.org/10.1177/2059204320986384.
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Our perception of the duration of a piece of music is related to its tempo. When listening to music, absolute durations may seem longer as the tempo—the rate of an underlying pulse or beat—increases. Yet, the perception of tempo itself is not absolute. In a study on perceived tempo, participants were able to distinguish between different tempo-shifted versions of the same song (± 5 beats per minute (BPM)), yet their tempo ratings did not match the actual BPM rates; this finding was called tempo anchoring effect (TAE). In order to gain further insights into the relation between duration and tempo perception in music, the present study investigated the effect of musical tempo on two different duration measures, to see if there is an analog to the TAE in duration perception. Using a repeated-measures design, 32 participants (16 musicians) were randomly presented with instrumental excerpts of Disco songs at the original tempi and in tempo-shifted versions. The tasks were (a) to reproduce the absolute duration of each stimulus (14–20 s), (b) to estimate the absolute duration of the stimuli in seconds, and (c) to rate the perceived tempo. Results show that duration reproductions were longer with faster tempi, yet no such effect was found for duration estimations. Thus, lower-level reproductions were affected by the tempo, but higher-level estimations were not. The tempo-shifted versions showed no effect on both duration measures, suggesting that the tempo difference for the duration-lengthening effect requires a difference of at least 20 BPM, depending on the duration measure. Results of perceived tempo replicated the typical rating pattern of the TAE, but this was not found in duration measures. The roles of spontaneous motor tempo and musical experience are discussed, and implications for future studies are given.
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Halpern, Andrea R. "Perceived and Imagined Tempos of Familiar Songs." Music Perception 6, no. 2 (1988): 193–202. http://dx.doi.org/10.2307/40285425.
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Two studies investigated the similarity of metronome settings to perceived and imagined familiar songs by subjects unselected for musical ability. In Study 1, mean tempo settings in the two tasks were about 100 beats per minute. Songs with slower perceived tempos tended to be faster in the imagery task and vice versa. In Study 2, subjects set fastest and slowest acceptable tempos for the same set of songs in the imagery mode. These settings were positively correlated with the preferred tempo for the song. Most subjects thought that there were limits on how fast or slow a song could be imagined. These results suggest that tempo is explicitly represented in auditory imagery.
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Capelle-Dumont, Philippe. "Le temps musical." Revue des sciences religieuses, no. 88/2 (April 1, 2014): 149–59. http://dx.doi.org/10.4000/rsr.824.
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Garant, Serge. "Le temps musical." Canadian University Music Review, no. 7 (1986): 32. http://dx.doi.org/10.7202/1014085ar.
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Imberty, Michel. "Formes de la répétition et formes des affects du temps dans l'expression musicale." Musicae Scientiae 1, no. 1 (March 1997): 33–62. http://dx.doi.org/10.1177/102986499700100104.
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Cet article se propose de montrer ce que la psychologie récente du développement peut apporter pour la compréhension des phénomènes affectifs de nature temporelle qui sous-tendent l'écoute musicale et ses effets sur l'auditeur. L'article part de l'analyse du phénomène de répétition, tant dans les situations interactives chez le nourrisson que dans les structures les plus élémentaires des langages musicaux. La répétition, dans un cas comme dans l'autre, engendre le temps, la durée, mais y introduit une régularité qui permet au sujet l'anticipation et la maîtrise du futur. Cette régulatité et cette prévisibilité rendent possible la Variation, principe générateur du développement psychologique par les adaptations successives à une réalité changeante, mais aussi principe créateur du développement musical. Cette analyse conduit alors aux concepts centraux développés ici à partir des travaux du psychologue et psychanalyste, Daniel Stern. L'hypothèse est que l'unité d'une expérience interpersonnelle ou interactive chez le très jeune enfant est sa structure temporelle. Sur elle, par la suite, se greffent les expériences sensorielles, motrices et affectives pour construire des représentations intériorisées. Mais ce qui caractérise fondamentalement une expérience affective, c'est sa courbe temporelle, le rythme d'alternance des moments de tension et des moments de détente, c'est sa ligne de tension dramatique, ce que Daniel Stern appellera trame temporelle du ressenti… L'expérience affective, dans la vie relationnelle comme dans la musique, est partagée, communiquée, sur la base d'un accordage affectif qui n'est autre qu'une interrégulation temporelle, cellelà měme qui régit les rapports des musiciens dans le quatuor par exemple. L'article s'achève enfin par des considérations sur la sémiotisation du temps musical et la notion d'enveloppe proto-narrative: celle-ci est définie comme sens d'une trame temporelle du ressenti, orientée par une motivation ou un désir vers un but. La musique apparaî;trait alors comme la représentation de la matrice originelle de toutes les formes symboliques, de toutes les formes de langage, c'est-à-dire de toutes les formes de mise en ordre du temps dans la vie humaine.
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Novembre, Giacomo, Manuel Varlet, Shujau Muawiyath, Catherine J. Stevens, and Peter E. Keller. "The E-music box: an empirical method for exploring the universal capacity for musical production and for social interaction through music." Royal Society Open Science 2, no. 11 (November 2015): 150286. http://dx.doi.org/10.1098/rsos.150286.
Full textAbstract:
Humans are assumed to have a natural—universal—predisposition for making music and for musical interaction. Research in this domain is, however, typically conducted with musically trained individuals, and therefore confounded with expertise. Here, we present a rediscovered and updated invention—the E-music box—that we establish as an empirical method to investigate musical production and interaction in everyone. The E-music box transforms rotatory cyclical movements into pre-programmable digital musical output, with tempo varying according to rotation speed. The user’s movements are coded as continuous oscillatory data, which can be analysed using linear or nonlinear analytical tools. We conducted a proof-of-principle experiment to demonstrate that, using this method, pairs of non-musically trained individuals can interact according to conventional musical practices (leader/follower roles and lower-pitch dominance). The results suggest that the E-music box brings ‘active’ and ‘interactive’ musical capacities within everyone’s reach. We discuss the potential of this method for exploring the universal predisposition for music making and interaction in developmental and cross-cultural contexts, and for neurologic musical therapy and rehabilitation.
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Vos, Piet G., Arjan van Dijk, and Lambert Schomaker. "Melodic Cues for Metre." Perception 23, no. 8 (August 1994): 965–76. http://dx.doi.org/10.1068/p230965.
Full textAbstract:
A method of time-series analysis and a time-beating experiment were used to test the structural and perceptual validity of notated metre. Autocorrelation applied to the flow of melodic intervals between notes from thirty fragments of compositions for solo instruments by J S Bach strongly supported the validity of bar length specifications. Time-beating data, obtained with four stimuli from the same set, played in an expressionless mode, and presented under categorically distinct tempos to different subgroups of musically trained subjects, were rather inconsistent with respect to tapped bar lengths. However, taps were most frequently given to the events in the stimuli that corresponded with the first beats according to the score notations. No significant effects of tempo on tapping patterns were observed. The findings are discussed in comparison with other examinations of metre inference from musical compositions.
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Bardez, Jean-Michel. "La classe de Messiaen de Jean Boivin." Circuit 9, no. 1 (March 5, 2010): 27–40. http://dx.doi.org/10.7202/902215ar.
Full textAbstract:
À travers le compte-rendu très personnel de l’ouvrage de Boivin, Jean-Michel Bardez qui fut un des élèves de la toute dernière classe de Messiaen, évoque les difficultés de l’édition musicographique, du discours musical et de l’analyse musicale en France. En même temps, il propose son interprétation de la pédagogie de Messiaen et une caractérisation de la pratique analytique du compositeur.
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Mammì, Lorenzo. "Ideologia de Jehan de Murs." Revista Música 1, no. 2 (November 1, 1990): 79. http://dx.doi.org/10.11606/rm.v1i2.55004.
Full textAbstract:
Dos primeiros sinais de rítmica modal às complexas combinações do moteto isorrítmico transcorre pouco mais de um século. Nesse período relativamente breve nasce e amadurece a idéia de um sistema completo e perfeitamente definido de durações, independente do texto, da liturgia ou da dança - o tempo musical como o entendemos ainda hoje, elemento da composição e função da sua forma, valor estético. O tratado Notitia Artis Musicae de Jehan de Murs, que será examinado aqui, já pertence à fase culminante desse processo, à Ars Nova. Procurarei lê-lo em seus aspectos ideológicos, mais do que técnicos, tentando decifrar, por meio dele, as concepções do tempo, da arte e da composição musical que fundamentaram a revolução arsnovista. Antes de enfrentar o texto, porém, será necessário fixar alguns pontos de referência, que permitam situá-lo na cultura e na sociedade do final da Idade Média.