Artículos de revistas: "Non-musical"

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Kharlov, Andrei Vladimirovich. "INCANTATIONS: MUSICAL APPROACH TO NON-MUSICAL GENRES ANALYSIS". Manuscript, n.º 4 (abril de 2019): 141–45. http://dx.doi.org/10.30853/manuscript.2019.4.29.

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Gardiner, Martin Frederick. "Emotional participation in musical and non-musical behaviors". Behavioral and Brain Sciences 35, n.º 3 (23 de mayo de 2012): 149–50. http://dx.doi.org/10.1017/s0140525x11001506.

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AbstractExistence of similarities of overall brain activation, specifically during emotional and other common psychological operations (discussed by Lindquist et al.), supports a proposal that emotion participates continuously in dynamic adjustment of behavior. The proposed participation can clarify the relationship of emotion to musical experience. Music, in turn, can help explore such participation.

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3

Johnson, Daniel y Dan Ventura. "Musical Motif Discovery from Non-Musical Inspiration Sources". Computers in Entertainment 14, n.º 2 (30 de diciembre de 2016): 1–22. http://dx.doi.org/10.1145/2888403.

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Narme, Pauline, Audrey Tonini, Fatiha Khatir, Loris Schiaratura, Sylvain Clément y Séverine Samson. "Non pharmacological treatment for Alzheimer's disease: comparison between musical and non-musical interventions". Gériatrie et Psychologie Neuropsychiatrie du Viellissement 10, n.º 2 (junio de 2012): 215–24. http://dx.doi.org/10.1684/pnv.2012.0343.

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Alaminos-Fernández, Antonio Francisco. "Musical transformations of non-places". OBETS. Revista de Ciencias Sociales 13, n.º 3 (9 de noviembre de 2018): 211. http://dx.doi.org/10.14198/obets2018.13.1.08.

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The twentieth and twenty-first century have been a temporary canvas where two closely related concepts have broadened, both in terms of modernity and supermodernity: ambient music and the development of urban spaces. Both phenomena undergo a development, interaction and sustained change process, largely caused by technological changes. For the purpose of this study, first the concept of "non-places" and its change from physical spaces to virtual spaces will be presented. In second place, the development of ambient music is specifically considered; first regarding the close relationship that it establishes with non-places and then the generation of atmospheres through collective sound spheres. Subsequent technological transformations spread and fragment the associations between non-places and music, enabling personal atmospheres through individual spheres. At present, technological developments allow virtual non-places to take shape (Augé), which are environmentally filled thanks to playlists through streaming services. Subsystems of delocalised networked spheres and temporary spheres are established, yet they are emotionally contiguous. This article presents the humanising role that music has experienced within this urban growth process in western societies, which have developed over the last century.

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Boorom, Olivia, Valerie Muñoz, Rongyu Xin, Meredith Watson y Miriam D. Lense. "Parental responsiveness during musical and non-musical engagement in preschoolers with ASD". Research in Autism Spectrum Disorders 78 (octubre de 2020): 101641. http://dx.doi.org/10.1016/j.rasd.2020.101641.

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7

Herbert, Ruth. "Musical and non-musical involvement in daily life: The case of absorption". Musicae Scientiae 16, n.º 1 (9 de noviembre de 2011): 41–66. http://dx.doi.org/10.1177/1029864911423161.

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The construct of absorption (effortless engagement) has been the subject of a small number of discipline-specific studies of involvement, including music. This paper reports the results of an empirical project that compared psychological qualities of absorption in everyday music listening scenarios with characteristics of non-music-related involvement. Absorption was located in “real-world” settings, and experiences across different activities in a variety of contexts were tapped as soon as possible after they occurred. The inquiry was designed to test two assumptions that have underpinned previous absorption research: first, that certain activities are inherently particularly absorbing; second, that absorption is best conceptualized primarily as a trait as opposed to a state. Twenty participants kept diaries for two weeks, recording descriptions of involving experiences of any kind. Eight weeks after submitting descriptive reports they completed the Modified Tellegen Absorption Scale ( Jamieson, 2005 ). Diaries indicated that different activities shared a subset of involving features, and confirmed the importance of multi-sensory perception and the imaginative faculty to absorbed experiences. Music may be a particularly effective agent in the facilitation of absorption because it affords multiple potential entry points to involvement (acoustic attributes, source specification, entrainment, emotion, fusion of modalities) and because its semantic malleability makes it adaptable to a variety of circumstances. The MODTAS provided insufficient evidence for establishing correlations between state and trait absorption. It is argued that state and trait divisions are constructs that are inherently problematic.

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Jonāne, Jūlija. "Sacred Music – a Forbidden Fruit: Musical and Non-musical Ways of Survival". Musicological Annual 50, n.º 2 (3 de abril de 2015): 127–35. http://dx.doi.org/10.4312/mz.50.2.127-135.

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Prohibition of sacred music during the period of Soviet Latvia was exerted like a syndrome of forbidden fruit, that was breached in the underground way and developed in secret and complicated forms, in which the central is secular music genres’ and radical musical language’s using. A re-reading of texts will lead to a more nuanced understanding of the development of sacred music in Latvia and other countries.

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Putri, Annisa Aulia y Haryanto Haryanto. "Perbedaan Kecerdasan Emosional pada Mahasiswa yang Mengikuti UKM Musik dan Mahasiswa yang Mengikuti UKM Non-Musik". Gadjah Mada Journal of Psychology (GamaJoP) 4, n.º 2 (29 de mayo de 2019): 119. http://dx.doi.org/10.22146/gamajop.46358.

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The aim of this study is to determine the difference in emotional intelligence of students from musical extracurricular and students from non-musical extracurricular. This research used quantitative method. Data collected with Emotional Intelligence Scale. The hypothesis in this study is that emotional intelligence of students from musical extracurricular higher than students from non-musical extracurricular. Total participant of this study were 83 active student members of the extracurricular in Universitas Gadjah Mada. Through the use of Independent T-test, found that there’s no significant difference between students from musical extracurricular than non-musical extracurricular, since mean of students from non-musical extracurricular (M = 180,750) is higher than students from musical extracurricular (M = 175,171). Therefore, emotional intelligence of students from musical extracurricular is not higher than students from non-musical extracurricular.

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Herbert, Ruth. "An empirical study of normative dissociation in musical and non-musical everyday life experiences". Psychology of Music 41, n.º 3 (20 de diciembre de 2011): 372–94. http://dx.doi.org/10.1177/0305735611430080.

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Mats Johansson. "Non-Isochronous Musical Meters: Towards a Multidimensional Model". Ethnomusicology 61, n.º 1 (2017): 31. http://dx.doi.org/10.5406/ethnomusicology.61.1.0031.

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Fioravanti, Marco, Giuseppina Di Giulio, Giovanni Signorini, Gabriele Rossi Rognoni, Nicola Sodini, Giuliana Tromba y Franco Zanini. "Non-invasive wood identification of historical musical bows". IAWA Journal 38, n.º 3 (7 de noviembre de 2017): 285–96. http://dx.doi.org/10.1163/22941932-20170172.

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We identified the wood of the sticks of eight bows in the historical collection of musical instruments in the Galleria dell’ Accademia in Florence. Wood identification was carried out non-invasively (i.e., without sampling wood from the original objects), because the removal of samples from fine musical instruments will affect their aesthetic integrity and/or functional quality. Identification attempts using reflected light microscopy of wood surfaces, gave only partial results due to the poor quality of the surfaces and the particular geometry of the sticks that does not have any transverse surface. Application of Synchrotron light X-ray microtomography (µCT) in phase-contrast mode to the whole sticks allowed us to obtain stacks of transverse-sectional images that, processed as virtual volumes, revealed several anatomical features. With µCT it was possible to identify three bows as Brosimum guianense (Moraceae), one bow as Caesalpinia echinata (Caesalpiniaceae), and four bows as Manilkara sp. (Sapotaceae).

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13

Graakjær, Nicolai Jørgensgaard y Anders Bonde. "Non-musical sound branding – a conceptualization and research overview". European Journal of Marketing 52, n.º 7/8 (9 de julio de 2018): 1505–25. http://dx.doi.org/10.1108/ejm-09-2017-0609.

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Purpose The purpose of this paper is to advance the understanding of sound branding by developing a new conceptual framework and providing an overview of the research literature on non-musical sound. Design/methodology/approach Using four mutually exclusive and collectively exhaustive types of non-musical sound, the paper assesses and synthesizes 99 significant studies across various scholarly fields. Findings The overview reveals two areas in which more research may be warranted, that is, non-musical atmospherics and non-musical sonic logos. Moreover, future sound-branding research should examine in further detail the potentials of developed versus annexed object sounds, and mediated versus unmediated brand sounds. Research limitations/implications The paper provides important insights into critical issues that suggest directions for further research on non-musical sound branding. Practical implications The paper identifies an unexploited terrain of possibilities for the use of sound in marketing and branding. Originality/value The paper identifies a subfield within sound-branding research that has received little attention despite its inevitability and potential significance.

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Dahary, Hadas, Tania Palma Fernandes y Eve-Marie Quintin. "The relationship between musical training and musical empathizing and systemizing traits". Musicae Scientiae 24, n.º 1 (12 de junio de 2018): 113–29. http://dx.doi.org/10.1177/1029864918779636.

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Although individual differences in engagement with and response to music are well documented, little is known about variations in musical empathizing and systemizing (E-S) traits and their relation to musical sophistication, including musical training. The current study examines the relationship between musical and general (non-musical) E-S traits and how musical sophistication and specific aspects of musical training are related to musical E-S traits. A total of 81 respondents reported on their level of musical sophistication and training (e.g., musical abilities, formal training, and engagement in musical activities) and endorsement of musical and general E-S traits. Participants were asked to complete the Goldsmiths Musical Sophistication Index (musical sophistication and training), the Empathizing and Systemizing quotients (general, non-musical E-S traits), and the Musical Empathizing and Systemizing inventory (musical E-S traits). Results suggest that general E-S traits are related to musical E-S traits and that musical sophistication, including but not limited to formal training, is positively associated with musical E-S traits. Furthermore, greater music training, as measured by the number of instruments played and years of formal instrumental and theory training, is related to greater endorsement of E-S traits. This study provides grounds for assessing the link between musical sophistication and training and musical E-S traits within clinical populations that have atypicalities in empathizing (e.g., autism spectrum disorder).

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15

Bhalke, Daulappa Guranna, C. B. Rama Rao y Dattatraya Bormane. "Hybridisation of Mel Frequency Cepstral Coefficient and Higher Order Spectral Features for Musical Instruments Classification". Archives of Acoustics 41, n.º 3 (1 de septiembre de 2016): 427–36. http://dx.doi.org/10.1515/aoa-2016-0042.

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Abstract This paper presents the classification of musical instruments using Mel Frequency Cepstral Coefficients (MFCC) and Higher Order Spectral features. MFCC, cepstral, temporal, spectral, and timbral features have been widely used in the task of musical instrument classification. As music sound signal is generated using non-linear dynamics, non-linearity and non-Gaussianity of the musical instruments are important features which have not been considered in the past. In this paper, hybridisation of MFCC and Higher Order Spectral (HOS) based features have been used in the task of musical instrument classification. HOS-based features have been used to provide instrument specific information such as non-Gaussianity and non-linearity of the musical instruments. The extracted features have been presented to Counter Propagation Neural Network (CPNN) to identify the instruments and their family. For experimentation, isolated sounds of 19 musical instruments have been used from McGill University Master Sample (MUMS) sound database. The proposed features show the significant improvement in the classification accuracy of the system.

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Okely, Judith A., Ian J. Deary y Katie Overy. "The Edinburgh Lifetime Musical Experience Questionnaire (ELMEQ): Responses and non-musical correlates in the Lothian Birth Cohort 1936". PLOS ONE 16, n.º 7 (15 de julio de 2021): e0254176. http://dx.doi.org/10.1371/journal.pone.0254176.

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There is growing evidence of the potential effects of musical training on the human brain, as well as increasing interest in the potential contribution of musical experience to healthy ageing. Conducting research on these topics with older adults requires a comprehensive assessment of musical experience across the lifespan, as well as an understanding of which variables might correlate with musical training and experience (such as personality traits or years of education). The present study introduces a short questionnaire for assessing lifetime musical training and experience in older populations: the Edinburgh Lifetime Musical Experience Questionnaire (ELMEQ). 420 participants from the Lothian Birth Cohort 1936 completed the ELMEQ at a mean age of 82 years. We used their responses to the ELMEQ to address three objectives: 1) to report the prevalence of lifetime musical experience in a sample of older adults; 2) to demonstrate how certain item-level responses can be used to model latent variables quantifying experience in different musical domains (playing a musical instrument, singing, self-reported musical ability, and music listening); and 3) to examine non-musical (lifespan) correlates of these domains. In this cohort, 420 of 431 participants (97%) completed the questionnaire. 40% of participants reported some lifetime experience of playing a musical instrument, starting at a median age of 10 years and playing for a median of 5 years. 38% of participants reported some lifetime experience of singing in a group. Non-musical variables of childhood environment, years of education, childhood cognitive ability, female sex, extraversion, history of arthritis and fewer constraints on activities of daily living were found to be associated, variously, with the domains of playing a musical instrument, singing, self-reported musical ability, and music listening. The ELMEQ was found to be an effective research tool with older adults and is made freely available for future research.

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Castiglione, Claudia, Alberto Rampullo y Silvia Cardullo. "Self representations and music performance anxiety: A study with professional and amateur musicians". Europe’s Journal of Psychology 14, n.º 4 (30 de noviembre de 2018): 792–805. http://dx.doi.org/10.5964/ejop.v14i4.1554.

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Individual, social and situational factors might play an important role on the experience of anxiety during musical performances. The present research focused on the relationship between self-representations, including musical self, and performance anxiety among a sample of Italian professional and amateur musicians (N = 100; age, M = 23.40, 50% females). We predicted that higher self-discrepancies (actual vs. future self) would be associated with higher performance anxiety in a musical setting (vs. a non musical one), via musical self, and only in professional musicians. The results confirmed our hypothesis. Higher discrepancies between actual and future self-representations were positively associated with higher performance anxiety levels via the musical self only in participants who play instruments at a professional level. Furthermore, musical self influenced performance anxiety levels in a music related setting (i.e., a concert) but not in a non musical one (i.e., an exam).

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Suzuki, Ikuo. "Involuntary musical recollection during linguistic or non-linguistic tasks". Proceedings of the Annual Convention of the Japanese Psychological Association 82 (25 de septiembre de 2018): 1AM—084–1AM—084. http://dx.doi.org/10.4992/pacjpa.82.0_1am-084.

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Belichenko, N. N. "NON-IMITATIVE POLYPHONY IN THE ASPECT OF MUSICAL LOGIC". Paradigmata poznání 4, n.º 4 (21 de noviembre de 2017): 14–24. http://dx.doi.org/10.24045/pp.2017.4.3.

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Novikova, N. V. "DEVELOPMENT OF CHILDREN'S CREATIVITY DURING NON-SCHOOL MUSICAL CLASSES". Вестник Восточно-Сибирского государственного института культуры 184, n.º 2 (6 de julio de 2018): 151–60. http://dx.doi.org/10.31443/2541-8874-2018-2-6-151-160.

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Hughes, William, Michael Jothen y Vincent Lawrence. "Developing Musical Involvement in High School Non-Performance Classes". Soundings (Reston, VA) 3, n.º 2 (enero de 1990): 24–26. http://dx.doi.org/10.1177/104837139000300208.

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Berrios, G. E. "Musical Hallucinations". British Journal of Psychiatry 156, n.º 2 (febrero de 1990): 188–94. http://dx.doi.org/10.1192/bjp.156.2.188.

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A sample of 46 subjects experiencing musical hallucinations was analysed – 10 new cases in addition to 36 culled from the literature. When compared with controls, it was found that musical hallucinations are far more common in females, and that age, deafness, and brain disease affecting the non-dominant hemisphere play an important role in their development. Psychiatric illness and personality factors were found to be unimportant.

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Rodrigues, Ana Carolina, Maurício Alves Loureiro y Paulo Caramelli. "Musical training, neuroplasticity and cognition". Dementia & Neuropsychologia 4, n.º 4 (diciembre de 2010): 277–86. http://dx.doi.org/10.1590/s1980-57642010dn40400005.

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Abstract The influence of music on the human brain has been recently investigated in numerous studies. Several investigations have shown that structural and functional cerebral neuroplastic processes emerge as a result of long-term musical training, which in turn may produce cognitive differences between musicians and non-musicians. Musicians can be considered ideal cases for studies on brain adaptation, due to their unique and intensive training experiences. This article presents a review of recent findings showing positive effects of musical training on non-musical cognitive abilities, which probably reflect plastic changes in brains of musicians.

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Tanzi, Dante. "Extra-Musical Meanings and Spectromorphology". Organised Sound 16, n.º 1 (25 de febrero de 2011): 36–41. http://dx.doi.org/10.1017/s1355771810000415.

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Denis Smalley devoted himself to the elaboration of a method based on the analysis of spectral transformations by connoting sonorous motions and adopting metaphors borrowed from non-musical contexts. While considering Smalley's earlier theorising within the context of past and contemporary research, this paper focuses on the use of non-musical models in spectromorphological design in order to show how sonorous qualities, imaginative factors and extra-musical meanings concurred in defining new cognitive itineraries and in extending the terminology adopted, thereby establishing the basis of a new compositional approach.

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Cheng, Lee. "Musical competency development in a laptop ensemble". Research Studies in Music Education 41, n.º 1 (23 de julio de 2018): 117–31. http://dx.doi.org/10.1177/1321103x18773804.

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The laptop ensemble is a platform that has recently been made possible by computer technology that enables individuals to perform music collaboratively. Research in this area has largely focused on the performance aspects, with very few studies focusing on the development of musical competency through participation in a laptop ensemble. This article reports the findings of a study that assessed the development of participants’ ( n = 80) perceived musical and non-musical competencies in a laptop ensemble affiliated to a tertiary institution in Hong Kong. A mixed methods approach consisting of a questionnaire survey and semi-structured interviews was used to investigate their learning experiences. For comparison, the questionnaire was also administered to participants in a conventional acoustic orchestra ( n = 80). Semi-structured interviews were conducted with the laptop ensemble group to examine the participants’ perceptions of the development of their musical and non-musical competencies. A three-way dependency model was developed based on the findings, which revealed the technologically-oriented aspects of musical and non-musical competency development in the laptop ensemble. Participating in the laptop ensemble fostered students’ ability to develop both musical and technological skills, which fits with the framework of digital musicianship of essential skills for musicians and music educators in the digital era.

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Thorpe, Lisa, Margaret Cousins y Ros Bramwell. "Implicit knowledge and memory for musical stimuli in musicians and non-musicians". Psychology of Music 48, n.º 6 (21 de marzo de 2019): 836–45. http://dx.doi.org/10.1177/0305735619833456.

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The phoneme monitoring task is a musical priming paradigm that demonstrates that both musicians and non-musicians have gained implicit understanding of prevalent harmonic structures. Little research has focused on implicit music learning in musicians and non-musicians. This current study aimed to investigate whether the phoneme monitoring task would identify any implicit memory differences between musicians and non-musicians. It focuses on both implicit knowledge of musical structure and implicit memory for specific musical sequences. Thirty-two musicians and non-musicians (19 female and 13 male) were asked to listen to a seven-chord sequence and decide as quickly as possible whether the final chord ended on the syllable /di/ or /du/. Overall, musicians were faster at the task, though non-musicians made more gains through the blocks of trials. Implicit memory for musical sequence was evident in both musicians and non-musicians. Both groups of participants reacted quicker to sequences that they had heard more than once but showed no explicit knowledge of the familiar sequences.

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Mengozzi, Stefano. "‘SI QUIS MANUS NON HABEAT’: CHARTING NON-HEXACHORDAL MUSICAL PRACTICES IN THE AGE OF SOLMISATION". Early Music History 26 (octubre de 2007): 181–218. http://dx.doi.org/10.1017/s0261127907000228.

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Our picture of musical training in the Middle Ages and Renaissance is frustratingly generic and fragmentary. The musicians of that era – it is often stated – were well versed in the method of the so-called Guidonian hand, by which the twenty pitches of the gamut (often referred to as claves) were mapped onto the joints of the left hand along with the six voces ut, re, mi, fa, sol, la, dating back to Guido of Arezzo’s Epistola ad Michahelem (c. 1033). Professional singers learnt how to group the claves into overlapping hexachords in the early stages of musical training and referred to the musical hand as a mnemonic aid while sight-singing. By the early fourteenth century at the latest, a sophisticated set of rules of behaviour was in place that allowed practical musicians and theorists to connect the six syllables to the claves and to perform hexachordal mutations smoothly and effectively.

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Weijkamp, Janne y Makiko Sadakata. "Attention to affective audio-visual information: Comparison between musicians and non-musicians". Psychology of Music 45, n.º 2 (7 de julio de 2016): 204–15. http://dx.doi.org/10.1177/0305735616654216.

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Individuals with more musical training repeatedly demonstrate enhanced auditory perception abilities. The current study examined how these enhanced auditory skills interact with attention to affective audio-visual stimuli. A total of 16 participants with more than 5 years of musical training (musician group) and 16 participants with less than 2 years of musical training (non-musician group) took part in a version of the audio-visual emotional Stroop test, using happy, neutral, and sad emotions. Participants were presented with congruent and incongruent combinations of face and voice stimuli while judging the emotion of either the face or the voice. As predicted, musicians were less susceptible to interference from visual information on auditory emotion judgments than non-musicians, as evidenced by musicians being more accurate when judging auditory emotions when presented with congruent and incongruent visual information. Musicians were also more accurate than non-musicians at identifying visual emotions when presented with concurrent auditory information. Thus, musicians were less influenced by congruent/incongruent information in a non-target modality compared to non-musicians. The results suggest that musical training influences audio-visual information processing.

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Jiang*, Jun, Tang Hai, Dongrui Man y Linshu Zhou. "Is Absolute Pitch Associated With Musical Tension Processing?" i-Perception 11, n.º 6 (noviembre de 2020): 204166952097165. http://dx.doi.org/10.1177/2041669520971655.

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Absolute pitch (AP) is a superior ability to identify or produce musical tones without a reference tone. Although a few studies have investigated the relationship between AP and high-level music processing such as tonality and syntactic processing, very little is known about whether AP is related to musical tension processing. To address this issue, 20 AP possessors and 20 matched non-AP possessors listened to major and minor melodies and rated the levels of perceived and felt musical tension using a continuous response digital interface dial. Results indicated that the major melodies were perceived and felt as less tense than the minor ones by AP and non-AP possessors. However, there was weak evidence for no differences between AP and non-AP possessors in the perception and experience of musical tension, suggesting that AP may be independent of the processing of musical tension. The implications of these ﬁndings are discussed.

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Popovic, Una. "In the defence of musical meaning". Filozofija i drustvo 30, n.º 1 (2019): 83–98. http://dx.doi.org/10.2298/fid1901083p.

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This paper is about the musical meaning and its relation to verbal meaning. My aim is to show that musical meaning should be sharply differentiated from the verbal one, that it should not be understood as a subspecies of verbal meaning, or as a meaning of a verbal sort whatsoever. I will address this issue starting with the sounds of music and language, and working my way up from those: by comparing these sounds and the way they relate to their meanings, I will show that musical sounds are strongly connected with musical meanings, that they have token-like qualities. Resulting from this is a suggestion to redefine the way we use the concepts of meaning and articulation, so that they would allow for the concept of non-verbal, musical meaning. Additionally, my suggestion is that musical meaning per se should be differentiated from the non-musical meanings music can communicate and convey - one does not exclude the other.

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Hewitt, Allan. "Levels of significance attributed to musical and non-musical factors of individual difference by classroom music teachers". Research Studies in Music Education 20, n.º 1 (junio de 2003): 48–59. http://dx.doi.org/10.1177/1321103x030200010301.

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Gupfinger, Reinhard y Martin Kaltenbrunner. "Animals Make Music: A Look at Non-Human Musical Expression". Multimodal Technologies and Interaction 2, n.º 3 (2 de septiembre de 2018): 51. http://dx.doi.org/10.3390/mti2030051.

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The use of musical instruments and interfaces that involve animals in the interaction process is an emerging, yet not widespread practice. The projects that have been implemented in this unusual field are raising questions concerning ethical principles, animal-centered design processes, and the possible benefits and risks for the animals involved. Animal–Computer Interaction is a novel field of research that offers a framework (ACI manifesto) for implementing interactive technology for animals. Based on this framework, we have examined several projects focusing on the interplay between animals and music technology in order to arrive at a better understanding of animal-based musical projects. Building on this, we will discuss how the implementation of new musical instruments and interfaces could provide new opportunities for improving the quality of life for grey parrots living in captivity.

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Aliyev, Alexey. "Musical Perdurantism and the Problem of Intermittent Existence". Grazer Philosophische Studien 94, n.º 1-2 (14 de junio de 2017): 83–100. http://dx.doi.org/10.1163/18756735-000004.

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Recently, a number of philosophers have defended a novel, materialist view on the nature of musical works—musical perdurantism. According to this view, musical works are a peculiar kind of concreta, namely perduring mereological sums of performances and/or other concrete entities. One problem facing musical perdurantism stems from the thought that if this view is correct, then virtually no musical work can exist in a continuous, non-intermittent fashion. The aim of this paper is to expound this problem and show that it cannot be plausibly solved by a musical perdurantist.

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Popović Mladjenović, Tijana. "A Fragment on the Emotion, “Mathesis” and Time Dimension of the Purely Musical. Marginalia with Prelude to the Afternoon of a Faun by Claude Debussy". Musicological Annual 43, n.º 2 (1 de diciembre de 2007): 305–32. http://dx.doi.org/10.4312/mz.43.2.305-332.

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In the dialogue What Is Music? between Carl Dahlhaus and Hans Heinrich Eggebrecht, music is defined as a “mathematized emotion” or an “emotionalized ‘mathesis’”. As emphasized by Marija Bergamo, this is the way of underlining its equal and unavoidable constitution, based on emotion and rational organization in the time dimension. So, Marija Bergamo is continuously searching for those music determinants in a musical work as an “autonomous aesthetic fact”, whose base and real essence lie “within the nature and essence of music itself”. In other words, the starting point of the author’s concern with (art) music is her reflection on that which is “purely musical”, that is, on “the very nature of the musical”.The attempts to determine what the purely musical is and to understand the nature of the sense and inevitability of man’s musical dimension have been made since the beginnings of music and musical thinking. In that context, more recent knowledge and thinking about the phenomenon of music, which are derived from various disciplines, correspond closely to Marija Bergamo’s views. In a narrower sense, the notion of purely musical is closely related to aesthetic autonomy, that is, autonomous music or musical autonomy. From such a viewpoint – and in conformity with Marija Bergamo’s view – I would say that the purely musical in an art music work exists independently of non/autonomy (that is, independently of any function, except an aesthetic one), as well as independently of the origin of its content (musical or extra-musical), and that it always, whenever “one thinks in the sense of music and is seized by it” (in terms of emotion, mathesis and time), creates, brings and possesses its specific (non-conceptual perceptive) musical-semantic stratum. This is shown, at least partly, on a characteristic and (in many respects) paradigmatic example – the music of Prelude to the Afternoon of a Faun by Claude Debussy. Therefore, rationalism of the magic inspiration of music (and/or: in music; by music; and possibly /by music/ about music), as a “mathematized emotion” or “emotionalized mathesis” in the time dimension, makes it – in a purely musical sense, based on purely musical logic – a unique form of non-conceptual cognition.

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35

García-Carril, Puy. "Musical works’ repeatability, audibility and variability: A dispositional account". Filozofija i drustvo 30, n.º 1 (2019): 54–72. http://dx.doi.org/10.2298/fid1901054g.

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This paper is devoted to face recent views in the ontology of music that reject that musical works are repeatable in musical performances. It will be observed that musical works? repeatability implies that they are audible and variable in their performances. To this extent, the aim here is to show that repeatability, audibility and variability are ontologically substantive features of musical works? nature. The thesis that will be defended is that repeatability, audibility and variability are dispositional non-aesthetic properties of musical works. The plausibility of the dispositional account of musical works? repeatability, audibility and variability will lead us to the conclusion that they are ontologically substantive features of musical works? nature, and consequently, any suitable explanation of the ontology of musical works must not ignore them.

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36

Sutton, R. Anderson y Walter Kaufmann. "Selected Musical Terms of Non-Western Cultures: A Notebook-Glossary". Ethnomusicology 35, n.º 3 (1991): 426. http://dx.doi.org/10.2307/851975.

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37

Rahkonen, Carl y Walter Kaufmann. "Selected Musical Terms of Non-Western Cultures: A Notebook-Glossary". Notes 48, n.º 1 (septiembre de 1991): 127. http://dx.doi.org/10.2307/941814.

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38

Worland, Randy. "Normal modes of a musical drumhead under non-uniform tension". Journal of the Acoustical Society of America 127, n.º 1 (enero de 2010): 525–33. http://dx.doi.org/10.1121/1.3268605.

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39

Cope, David. "Experiments in musical intelligence (EMI): Non‐linear linguistic‐based composition". Interface 18, n.º 1-2 (enero de 1989): 117–39. http://dx.doi.org/10.1080/09298218908570541.

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40

Zhao, T. Christina, H. T. Gloria Lam, Harkirat Sohi y Patricia K. Kuhl. "Neural processing of musical meter in musicians and non-musicians". Neuropsychologia 106 (noviembre de 2017): 289–97. http://dx.doi.org/10.1016/j.neuropsychologia.2017.10.007.

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41

Kim, Myung Shin. "The Factors Affecting Musical Learning of Undergraduate Non-music Majors". Music Education Research 3, n.º 2 (septiembre de 2001): 143–54. http://dx.doi.org/10.1080/14613800120089214.

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42

Hansen, Mads, Mikkel Wallentin y Peter Vuust. "Working memory and musical competence of musicians and non-musicians". Psychology of Music 41, n.º 6 (agosto de 2012): 779–93. http://dx.doi.org/10.1177/0305735612452186.

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43

Goldsworthy, David. "Some Musical Principles and Procedures in the Non-Western World". International Journal of Music Education os-14, n.º 1 (noviembre de 1989): 14–23. http://dx.doi.org/10.1177/025576148901400102.

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44

Aziz, V. "Musical hallucinations in normal children and adult non-psychiatric population". Case Reports 2009, jan27 1 (2 de febrero de 2009): bcr0620080023. http://dx.doi.org/10.1136/bcr.06.2008.0023.

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45

Kim, Hae Jeong. "A study for Musical Tendencies by Non Music Major Students". Yonsei Music Research 14 (31 de diciembre de 2007): 109–27. http://dx.doi.org/10.16940/ymr.2097.14.109.

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46

Tsougras, Costas y Danae Stefanou. "Embedded blends and meaning construction in Modest Musorgsky’s Pictures at an Exhibition". Musicae Scientiae 22, n.º 1 (21 de febrero de 2018): 38–56. http://dx.doi.org/10.1177/1029864917719587.

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Conceptual blending is a cognitive theory positing the combination of diverse conceptual spaces for the creation of novel blended spaces. Musical conceptual blending can be intra-musical, pertaining to the combination of diverse structural elements for the creation of new melodies, harmonies or textures, as well as cross-domain, involving the integration of musical and non-musical spaces for the creation of novel analogies or metaphors. This article presents a structural and hermeneutical analysis of “Il vecchio castello” and “Samuel Goldenberg und Schmuÿle” from Modest Musorgsky’s Pictures at an Exhibition in an attempt to disclose both the intra-musical (combination of modal, tonal or coloristic harmonic spaces and rhythmic/textural structure) and extra-musical (contextual, symbolic and programmatic aspects) conceptual blending that the works incorporate. The reductional/prolongational analyses provide input for two distinct Conceptual Integration Networks, the first describing the intra-musical blending of melodic harmonization and the second proposing the cross-domain blending of the musical and pictorial input spaces into a blended hermeneutical space that projects the works’ narrative/programmatic/emotional potential. The proposed analyses show how musical structure promotes creative listening and meaning construction through complex cross-domain integration. This research suggests that conceptual blending theory as an analytical tool can promote a richer structural interpretation and experience of music, even in cases of instrumental, non-vocal compositions.

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47

Gade, Miriam y Kathrin Schlemmer. "Music Modulates Cognitive Flexibility? An Investigation of the Benefits of Musical Training on Markers of Cognitive Flexibility". Brain Sciences 11, n.º 4 (2 de abril de 2021): 451. http://dx.doi.org/10.3390/brainsci11040451.

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Cognitive flexibility enables the rapid change in goals humans want to attain in everyday life as well as in professional contexts, e.g., as musicians. In the laboratory, cognitive flexibility is usually assessed using the task-switching paradigm. In this paradigm participants are given at least two classification tasks and are asked to switch between them based on valid cues or memorized task sequences. The mechanisms enabling cognitive flexibility are investigated through two empirical markers, namely switch costs and n-2 repetition costs. In this study, we assessed both effects in a pre-instructed task-sequence paradigm. Our aim was to assess the transfer of musical training to non-musical stimuli and tasks. To this end, we collected the data of 49 participants that differed in musical training assessed using the Goldsmiths Musical Sophistication Index. We found switch costs that were not significantly influenced by the degree of musical training. N-2 repetition costs were small for all levels of musical training and not significant. Musical training did not influence performance to a remarkable degree and did not affect markers of mechanisms underlying cognitive flexibility, adding to the discrepancies of findings on the impact of musical training in non-music-specific tasks.

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48

Porflitt, Felipe y Ricardo Rosas. "Musical sophistication explains a good deal of cognitive performance. A cross-sectional study of musicians and non-musicians". Resonancias: Revista de investigación musical 24, n.º 47 (diciembre de 2020): 147–67. http://dx.doi.org/10.7764/res.2020.47.9.

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Musical sophistication is a psychometric construct that can be measured both in people with musical training and without training. Through backgrounds related to musical activities in their lifetime, and other indicators referring to their current events, the person’s musical sophistication can be estimated with a relatively high level of reliability (Cronbach’s α =.78). In turn, few studies have covered the relationships between variables of this type and cognitive performance, leaving an area of research with little evidence. This study explores the relationship between musical sophistication and cognition, taking a sample of 35 musicians and 35 non-musicians (N=70). The objective was to determine to what extent musical sophistication explains cognitive performance. The Ollen Musical Sophistication Index (Ollen 2006) was used to measure this variable, and a battery of tests enabled the measurement of cognitive performance, which considered verbal and visual-spatial working memory, inhibition, flexibility, a go/no-go test, processing speed, fluid intelligence, and divided attention. Exploratory factor analysis was run, showing two factors for cognition variables. Then regression analyses were run for factors 1 and 2, and both collapsed. The results show that 6 out of 8 cognitive variables correlate positively with musical sophistication, explaining 30% of cognitive performance, after controlling for demographic variables.

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49

Alperson, Philip. "Extension, Variability, and Normativity: Deniz Peters on Musical Experience". Empirical Musicology Review 10, n.º 1-2 (8 de abril de 2015): 16. http://dx.doi.org/10.18061/emr.v10i1-2.4575.

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In his essay, “Musical Empathy, Emotional Co-Constitution, and the ‘Musical Other,’” Deniz Peters aims to present a non-reductive account of musical empathy in musical experience that takes seriously the contributions of bodily experience through what he terms “emotional co-constitution.”  I set Peters’ view in the context of what I call the Structural Object Model of musical experience and elaborate on some of the challenges Peters’ essay raises for both theoretical and empirical research on musical experience, concentrating on implications concerning ranges of cases covered by the theory, the variability of listeners’ experiences, the normativity of the theory, musical sophistication, and the cultural roots of musical experience.

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50

Gilmanov, Sergei A. "Psychological characteristics of abilities for musical improvisation". Yugra State University Bulletin 12, n.º 1 (15 de abril de 2016): 116–23. http://dx.doi.org/10.17816/byusu2016121116-123.

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The article is devoted to the psychological characteristics of talent for musical improvisation. The author believes that the ability of musical improvisation grow out of general and special musical abilities, are formed and developed only in the improvisational activities based on the simultaneous integration and differentiation methods of presentation "semantic units" of improvisation. This improvisation goes to artistic image, in which there is "non-musical", socio-cultural content. The article presents data from several empirical studies of the author.

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