Artículos de revistas: "Time in music"

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PARKER, IMOGEN. "The time of music: the music of time". Critical Quarterly 50, n.º 3 (octubre de 2008): 43–76. http://dx.doi.org/10.1111/j.1467-8705.2008.00814.x.

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2

Butler, David. "The Days Do Not End: Film Music, Time and Bernard Herrmann". Film Studies 9, n.º 1 (2006): 51–63. http://dx.doi.org/10.7227/fs.9.8.

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The tendency in most writing on the temporal properties of film music has been to note music‘s ability to establish, quickly and efficiently, a films historical setting. Although acknowledging this important function, this paper seeks to explore a wider range of temporal properties fulfilled by film music. Three aspects of musics temporality are discussed: anachronism (whereby choices of anachronistic music can provide the spectator with ways of making sense of a films subtext or its characters’ state of mind), navigation (the ability of music to help the spectator understand where and when they are in a films narrative) and expansion (musics ability to expand our experience of film time). The paper focuses on Bernard Herrmann, and his score for Taxi Driver (1976), and argues that Herrmann was particularly sensitive to the temporal possibilities of film music.

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3

Noble, Jason, Tanor Bonin y Stephen McAdams. "Experiences of Time and Timelessness in Electroacoustic Music". Organised Sound 25, n.º 2 (agosto de 2020): 232–47. http://dx.doi.org/10.1017/s135577182000014x.

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Electroacoustic music and its historical antecedents open up new ways of thinking about musical time. Whereas music performed by humans is necessarily constrained by certain temporal limits that define human information processing and embodiment, machines are capable of producing sound with scales and structures of time that reach potentially very far outside of these human limitations. But even musics produced with superhuman means are still subject to human constraints in music perception and cognition. Focusing on five principles of auditory perception – segmentation, grouping, pulse, metre and repetition – we hypothesise that musics that exceed or subvert the thresholds that define ‘human time’ are likely to be recognised by listeners as expressing timelessness. To support this hypothesis, we report an experiment in which a listening panel reviewed excerpts of electroacoustic music selected for their temporally subversive or excessive properties, and rated them (1) for the pace of time they express (normative, speeding up, or slowing down), and (2) for whether or not the music expresses ‘timelessness’. We find that while the specific musical parameters associated with temporal phenomenology vary from one musical context to the next, a general trend obtains across musical contexts through the excess or subversion of a particular perceptual constraint by a given musical parameter on the one hand, and the subjective experiences of time and timelessness on the other.

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4

Stamp, Laurie Nicholson. "Music time? All the time!" Day Care & Early Education 19, n.º 4 (junio de 1992): 4–6. http://dx.doi.org/10.1007/bf01617468.

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5

Belouchrani, A. y M. G. Amin. "Time-frequency MUSIC". IEEE Signal Processing Letters 6, n.º 5 (mayo de 1999): 109–10. http://dx.doi.org/10.1109/97.755429.

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6

Lund, Kirstin. "Music through time". BMJ 326, Suppl S3 (1 de marzo de 2003): 030377. http://dx.doi.org/10.1136/sbmj.030377.

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7

Ovenden, Philippa. "JOHANNES VETULUS DE ANAGNIA’S PLATONIST MODEL OF MUSICAL TIME". Early Music History 41 (octubre de 2022): 303–45. http://dx.doi.org/10.1017/s0261127923000013.

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In the second half of the fourteenth century, the Italian music theorist Johannes Vetulus de Anagnia wrote a treatise named Liber de musica. Extraordinarily complex and replete with theological digressions, this work has to date remained little understood. Examining Liber de musica through the lenses of practice and philosophy sheds new light on this enigmatic text. Vetulus’s theory is in certain respects innovative, but in others it is conservative. Vetulus theorised a unique but impractical system of mensural divisions that synthesises and exhausts some of the central conceptual principles of contemporaneous performance. He makes sense of these divisions within a Platonist intellectual framework that reimagines Trinitarian theological concepts in a musical context. Approaching this treatise as far as possible on its own terms reveals that Vetulus developed a symbolic epistemology of music in which a mutual reciprocity could emerge between the tripartite structures of music, nature and the divine.

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8

Hagan, Kerry L. "The Intersection of ‘Live’ and ‘Real-time’". Organised Sound 21, n.º 2 (30 de junio de 2016): 138–46. http://dx.doi.org/10.1017/s1355771816000066.

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Real-time computer music is now common and ubiquitous, no longer a new or experimental practice. In its infancy, it helped to solve perceived issues with the fixity of tape pieces, a natural continuation in the practice of live electronics. However, real-time computer music did not have the same consequences as live electronic music. This situation engendered many discussions about the liveness of real-time computer music performances at the time. It is now 20 years past those first conversations, and it is important to revisit what is ‘live’ and how it applies to real-time musics. Additionally, in some ways, the language surrounding descriptions of fixed medium works, mixed works, live electronics and real-time computer music has evolved and, perhaps, even settled into conventions distinguishing musical approach and philosophies. This article first defines the language, not to proselytise, but rather to ground the argument. The conclusion asserts that liveness is a spectrum despite the fact that ‘live’ is often used categorically. Though one may have an intuitive understanding of what constitutes a ‘live’ event, this article explicitly articulates the most significantly contributive factors. The nature of real-time computer music is explored in relation to these factors of liveness. Using musical examples, this article shows that ‘real-time’ music does not guarantee a ‘live’ performance, contrary to what is typically held to be true. Instead, ‘real-time’ simply becomes a descriptor of compositional method, and any real-time work can exist along a broad range of the liveness spectrum.

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9

Cipriani, Gerald. "Editorial: Music in Time, Music in Space". Culture and Dialogue 9, n.º 1 (19 de octubre de 2021): 1–2. http://dx.doi.org/10.1163/24683949-12340092.

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10

Lum, Chee-Hoo. "My country, my music: Imagined nostalgia and the crisis of identity in a time of globalization". International Journal of Music Education 35, n.º 1 (23 de junio de 2016): 47–59. http://dx.doi.org/10.1177/0255761415619425.

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This qualitative research study seeks to examine definitions of Singapore music, music by Singapore composers and musics of/in Singapore through the eyes of tertiary music educators in a local institute of teacher education, and to determine pedagogical implications of such definitions in the space of the music classroom. Extensive informal interviews with seven tertiary music educators (key informants) serve as the methodological base for this phenomenological study. Findings suggest that music educators should give focus to the historical, socio-cultural and musical characteristics of the lived and living musical practices that comprise Singapore while being cognizant of contradictions brought forth by recent migratory flows and the emergence of a global city identity.

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11

Kay, Ann C. "Counterpoint: Computer Time Vs. Music Time". Music Educators Journal 74, n.º 1 (septiembre de 1987): 24–25. http://dx.doi.org/10.1177/002743218707400101.

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12

BOON, JEAN PIERRE. "COMPLEXITY, TIME AND MUSIC". Advances in Complex Systems 13, n.º 02 (abril de 2010): 155–64. http://dx.doi.org/10.1142/s0219525910002529.

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The concept of complexity as considered in terms of its algorithmic definition proposed by G. J. Chaitin and A. N. Kolmogorov is revisited for the dynamical complexity of music. When music pieces are cast in the form of time series of pitch variations, concepts of dynamical systems theory can be used to define new quantities such as the dimensionality as a measure of the global temporal dynamics of a music piece, and the Shanon entropy as an evaluation of its local dynamics. When these quantities are computed explicitly for sequences sampled in the music literature from the 18th to the 20th century, no indication is found of a systematic increase in complexity paralleling historically the evolution of classical western music, but the analysis suggests that the fractional nature of art might have an intrinsic value of more general significance.

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13

Brown, Terence, John Kelly y Eric Domville. "The Music of Time". Irish Review (1986-), n.º 1 (1986): 93. http://dx.doi.org/10.2307/29735257.

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14

Payne, Barbara. "Scheduling Time For Music". Journal of Music Teacher Education 7, n.º 2 (enero de 1998): 29–31. http://dx.doi.org/10.1177/105708379800700207.

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15

Keuss, J. F. "Theology, Music, and Time". Literature and Theology 16, n.º 2 (1 de junio de 2002): 220–21. http://dx.doi.org/10.1093/litthe/16.2.220.

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16

Cariani, Peter y Marc Leman. "Introduction: Music and Time". Journal of New Music Research 30, n.º 2 (1 de junio de 2001): 105. http://dx.doi.org/10.1076/jnmr.30.2.105.7116.

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17

Lombardi, Riccardo. "Time, Music, and Reverie". Journal of the American Psychoanalytic Association 56, n.º 4 (diciembre de 2008): 1191–211. http://dx.doi.org/10.1177/0003065108326107.

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18

Ragot, Richard, Anne-Marie Ferrandez y Viviane Pouthas. "Time, music, and aging." Psychomusicology: A Journal of Research in Music Cognition 18, n.º 1-2 (2002): 28–45. http://dx.doi.org/10.1037/h0094053.

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19

Hammond, Patricia. "The music of time". Lancet Psychiatry 3, n.º 11 (noviembre de 2016): 1023–24. http://dx.doi.org/10.1016/s2215-0366(16)30315-7.

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20

Hanson, Clara, Jesse Anderton, Samuel F. Way, Ian Anderson, Scott Wolf y Alice Wang. "Time after Time: Longitudinal Trends in Nostalgic Listening". Proceedings of the International AAAI Conference on Web and Social Media 16 (31 de mayo de 2022): 311–22. http://dx.doi.org/10.1609/icwsm.v16i1.19294.

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Nostalgia was once considered a medical disease but is now understood as a beneficial, identity-affirming emotion. Yet what induces feelings of nostalgia is not fully understood. Are nostalgic feelings prompted by changes in a person’s life, and do certain events prompt nostalgia across whole populations? In this paper, we analyze when people listen to nostalgic music. We use data from a large, cross-national survey to train a classifier to detect which tracks are nostalgic for individual listeners. We then analyze a comprehensive dataset of listening histories from a 5.5 year period. Despite it being a complex concept, we were able to predict nostalgic listening with relatively high precision. We compare our results across listeners from four countries to understand how consistent behavior toward nostalgic music is. We find people listen to nostalgic music more often as they age. We also find people tend to listen to nostalgic music consistently in their day-to-day lives. We do not find evidence that listening to personally nostalgic music increases in response to particular traditions, seasons, or events. However, we do find traditions and events can affect how much “back catalog” music people listen to. These trends are consistent across the national contexts we studied. Our results advance prior findings about nostalgia and the life course, and demonstrate a novel methodological consideration for studies of nostalgic listening.

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21

Tanggaard, Karsten. "It Takes Time to be Creative – More Time!" British Journal of Music Education 4, n.º 3 (noviembre de 1987): 253–58. http://dx.doi.org/10.1017/s0265051700006094.

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The author examines the role of music in the Danish Gymnasium (grammar school), commenting upon the changes that have taken place over the last 10–15 years, and noting in particular the special opportunities provided by the ‘Music Education Wing’ in some schools. Although the students themselves tend to regard performance as something which should take priority, these unique ‘wing’ courses allow teachers to encourage a much greater involvement with music and a deeper understanding of music's power to unite the analytical and the creative: the intellect and the emotions.

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22

Noh, Hea-Min, Ho Jae Kim y Hyoung-Nam Kim. "DOA Estimation of Combining Time Modulated Arrays with Beamspace MUSIC Algorithm". Journal of Korean Institute of Communications and Information Sciences 45, n.º 6 (30 de junio de 2020): 951–60. http://dx.doi.org/10.7840/kics.2020.45.6.951.

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23

Clarke, Eric F. y Carol L. Krumhansl. "Perceiving Musical Time". Music Perception 7, n.º 3 (1990): 213–51. http://dx.doi.org/10.2307/40285462.

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Three experiments are described that investigate listeners' perceptions of the segmentation of a piece of atonal piano music, the location of segments extracted from the piece, and the duration and structural qualities of each segment. The experiments showed that listeners segmented the music in broad agreement with the grouping principles proposed by Lerdahl and Jackendoff (1983) and perceived the location of randomly presented segments of the music in a strongly veridical manner. Listeners' location judgments did, however, show systematic departures from veridicality, segments towards the beginning and end of the piece appearing to be located closer to the center of the piece than was actually the case. Judgments of the duration of extracted segments also were strongly veridical and were unaffected by concurrent ratings of structural properties of the segments. In order to assess possible effects of the unfamiliar musical style, the same three experiments were carried out on a piece of tonal piano music of comparable length, yielding essentially identical results. It is argued that the pattern of departures from veridicality in the location judgments for both pieces may indicate systematic changes in attention in the course of listening to the music, linked to large-scale properties of musical structure that are found in music from a variety of styles and periods. The independence of the segmental duration judgments from structural properties of the music may be a consequence of the performance skills of the musically trained listeners used in this study (a sense of absolute tempo is one of the abilities that a performer must acquire) and/or the particular methods used in the experiments.

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24

Moore, Timothy J. "Music in the Time of Vergil". Greek and Roman Musical Studies 6, n.º 1 (22 de marzo de 2018): 51–60. http://dx.doi.org/10.1163/22129758-12341311.

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Abstract The twenty-eight papers delivered at a symposium entitled “Music in the Time of Vergil”, sponsored by the Vergilian Society in June 2016, suggest a number of areas where promising research can continue to be done in the field of Roman music. These include the Realien of Roman music, the role of musical imagery in Latin poetry, Greek elements in Roman music, Roman attitudes to music and musical change, musical responses to political developments, and the influence of Rome on the music of the modern world.

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25

Ling, Jan. "Is ‘world music’ the ‘classic music’ of our time?" Popular Music 22, n.º 2 (mayo de 2003): 235–40. http://dx.doi.org/10.1017/s0261143003003143.

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On the way to my library there is a little shop named ‘World Music. The Oasis of Music from Asia, Africa’. One morning I stopped my bike and went in just curious to see what world music could be in my little town. In the racks even the smallest country from Asia or Africa was represented with one or two CDs, most of them produced in Paris or London. The other customers were half my age (around thirty to thirty-five, nobody over fifty or under twenty). The owner, an immigrant who has lived in Sweden for more than ten years, had this to say:The youngsters do not come here, all my customers are between twenty-five and forty. There is a growing interest in world music: people with money are visiting foreign countries as tourists and when they come home they come to me, asking for artists or groups they have heard. Most of them have an academic background and speak English fluently.

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26

Wu, Shih-Lun, Chris Donahue, Shinji Watanabe y Nicholas J. Bryan. "Music ControlNet: Multiple Time-Varying Controls for Music Generation". IEEE/ACM Transactions on Audio, Speech, and Language Processing 32 (2024): 2692–703. http://dx.doi.org/10.1109/taslp.2024.3399026.

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27

GRANT, ROGER MATHEW. "EPISTEMOLOGIES OF TIME AND METRE IN THE LONG EIGHTEENTH CENTURY". Eighteenth Century Music 6, n.º 1 (marzo de 2009): 59–75. http://dx.doi.org/10.1017/s1478570609001730.

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ABSTRACTWilhelm Seidel was the first to regard Johann Philipp Kirnberger’s reformulation of metre in Die Kunst des reinen Satzes in der Musik as a watershed moment in the history of music theory. As we consider Kirnberger’s innovation and importance in regard to his break with the past, we might examine more closely the conditions that made his re-imagining of metre possible. Kirnberger’s vital treatise participated in a broad epistemological shift in the conception of time. Changing metaphysical notions of time, along with technological developments such as the mechanical clock and the marine chronometer, helped to reshape a wider public’s notion of temporal passage. Alongside these developments, the nature of metre and tempo in music underwent continual revision. This article will explore the impact of shifting temporal conceptualizations on metre in the eighteenth century.

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28

Engels, Steve, Tiffany Tong y Fabian Chan. "Automatic Real-Time Music Generation for Games". Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 11, n.º 1 (24 de junio de 2021): 220–22. http://dx.doi.org/10.1609/aiide.v11i1.12775.

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Music composition can be a challenge for many small- to medium-sized game companies, largely due to the expense and difficulty in creating original music for each level of a game. To address this, we developed a tool that automatically generates original music, by training a music generator on pieces whose style the game designer wishes to imitate. The generator then creates original music in that style in real-time, and switches between styles when signaled by the game. This software has been refined to produce music that is coherent and imitates a composer’s larger music structure.

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29

Hoar Siki, Yovinia Carmeneja y Natalia Magdalena Rafu Mamulak. "Time-frequency analysis on gong timor music using short-time fourier transform and continuous wavelet transform". International Journal of Advances in Intelligent Informatics 3, n.º 3 (1 de diciembre de 2017): 146. http://dx.doi.org/10.26555/ijain.v3i3.114.

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Time-Frequency Analysis on Gong Timor Music has an important role in the application of signal-processing music such as tone tracking and music transcription or music signal notation. Some of Gong characters is heard by different ways of forcing Gong himself, such as how to play Gong based on the Player’s senses, a set of Gong, and by changing the tempo of Gong instruments. Gong's musical signals have more complex analytical criteria than Western music instrument analysis. This research uses a Gong instrument and two notations; frequency analysis of Gong music frequency compared by the Short-time Fourier Transform (STFT), Overlap Short-time Fourier Transform (OSTFT), and Continuous Wavelet Transform (CWT) method. In the STFT and OSTFT methods, time-frequency analysis Gong music is used with different windows and hop size while CWT method uses Morlet wavelet. The results show that the CWT is better than the STFT methods.

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30

Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916". Journal of Research in Music Education 42, n.º 4 (diciembre de 1994): 285–305. http://dx.doi.org/10.2307/3345737.

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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.

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31

Bagaskara, Akbar, Kun Setyaning Astuti y Umilia Rokhani. "Filsafat musik: Memahami esensi, perkembangan, dan relevansinya". Imaji: Jurnal Seni dan Pendidikan Seni 22, n.º 1 (28 de abril de 2024): 71–78. http://dx.doi.org/10.21831/imaji.v22i1.71954.

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Tujuan dari penelitian ini adalah untuk menyelidiki serta menguraikan ilmu filsafat musik dari banyak dimensi, mulai dari pendefinisian esensinya hingga perkembangan keilmuannya sepanjang sejarah dan relevansinya di era kontemporer. Metode penelitian yang digunakan dalam peneltian kali ini adalah metode kualitatif, dengan ciri lebih mengedepankan pada analisis fenomena sosial budaya yang luas dan mendalam. Teori analisis data yang diaplikasikan pada penelitian ini adalah model dari Miles dan Huberman dengan konsep empat tahapan analisis data yaitu pengumpulan data, reduksi data, penyajian data dan kesimpulan. Adapun temuan dari peneltian ini adalah (1) filsafat musik bukan hanya sekedar analisis teoritis bentuk belaka, tetapi juga berkaitan dengan makna mendalam musik pada konteks yang lebih luas yaitu, sosial, budaya, individual maupun kelompok yang menyertainya. (2) Sejarah dari filsafat musik menggambarkan bagaimana perjalanan atau evolusi dari pemikiran tentang musik dari masa ke masa yang akhirnya memberikan pemahaman utuh terhadap fenomena musik era saat ini. (3) Pada era kontemporer analisis wacana filsafat musik condong kepada masalah-masalah seperti tren musik modern, teknologi yang menyertainya dan dampak perubahannya terhadap masyarakat global. (4) Urgensi dari mempelari filsafat musik sangat erat kaitannya pada, dihasilkannya keterbukaan wawasan mendalam tentang musik, yang pada akhirnya akan membuat siapapun yang mendalaminya akan lebih menghargai musik dan memiliki daya analisis kritis lebih pada fenomena musik di sekitar. Kata kunci: Filsafat musik, esensi, perkembangan, relevansi Philosophy of music: Understanding its essence, development, and relevance AbstractThe purpose of this study is to investigate and describe the science of music philosophy from many dimensions, from defining its essence to its scientific development throughout history and its relevance in the contemporary era. The research method used in this research is a qualitative method, characterized by prioritizing the analysis of broad and in-depth socio-cultural phenomena. The theory of data analysis applied in this research is the model of Miles and Huberman with the concept of four stages of data analysis, namely data collection, data reduction, data presentation and conclusions. The findings of this research are (1) the philosophy of music is not just a theoretical analysis of form, but also related to the deep meaning of music in a broader context, namely, social, cultural, individual and group that accompanies it. (2) The history of the philosophy of music illustrates how the journey or evolution of thinking about music from time to time which ultimately provides a complete understanding of the phenomenon of music in the current era. (3) In the contemporary era, the analysis of music philosophy discourse leans towards issues such as modern music trends, the technology that accompanies them and the impact of their changes on global society. (4) The urgency of studying the philosophy of music is closely related to, the resulting openness to deep insight into music, which will ultimately make anyone who deepens it will appreciate music more and have more critical analysis power on the phenomenon of music around. Keywords: Philosophy of music, essence, development, relevance

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32

Kirby, Jenn. "Composing Perceivable Time". Leonardo 48, n.º 1 (febrero de 2015): 6–12. http://dx.doi.org/10.1162/leon_a_00931.

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Time is an integral element in music. The chronometric duration of a piece of music often differs from the duration perceived by the listener. This paper presents a composition that aims to manipulate the listener’s perception of time and presents the research findings that influenced the compositional decisions.

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33

Sekihara, K., S. Nagarajan, D. Poeppel y Y. Miyashita. "Time-frequency MEG-MUSIC algorithm". IEEE Transactions on Medical Imaging 18, n.º 1 (1999): 92–97. http://dx.doi.org/10.1109/42.750262.

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34

Rigopulos, Alexander P. "Real-time music creation system". Journal of the Acoustical Society of America 103, n.º 1 (enero de 1998): 22. http://dx.doi.org/10.1121/1.423165.

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35

Baussard, A. y T. Boutin. "Time-reversal RAP-MUSIC imaging". Waves in Random and Complex Media 18, n.º 1 (14 de enero de 2008): 151–60. http://dx.doi.org/10.1080/17455030701481856.

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36

Tarabella, Leonello. "Real‐time concurrent pascal music". Interface 22, n.º 3 (agosto de 1993): 229–41. http://dx.doi.org/10.1080/09298219308570634.

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37

Mountain, Rosemary y Kevin Dahan. "Editorial: Time in Electroacoustic Music". Organised Sound 25, n.º 2 (agosto de 2020): 127–29. http://dx.doi.org/10.1017/s1355771820000035.

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38

Kaimal, Janhavi, Payal Taskar, Pallavi Patil y Pranita Mane. "Real Time Emotion Based Music Player". International Journal for Research in Applied Science and Engineering Technology 12, n.º 4 (30 de abril de 2024): 5601–7. http://dx.doi.org/10.22214/ijraset.2024.61351.

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Abstract: In this paper, we present the development and implementation of an Emotion-based Music Player System utilizing facial emotion data, Convolutional Neural Networks (CNN), Flask, OpenCV for face detection, and Spotify API for music playlist integration. The system aims to provide users with personalized music recommendations based on their current emotional state, detected through real-time analysis of facial expressions. The proposed system consists of several key components, including data collection, preprocessing, CNN algorithm implementation for emotion classification, integration with Flask for web application development, and real-time emotion detection using OpenCV. The trained CNN model is capable of accurately classifying emotions such as anger, disgust, fear, happiness, neutrality, sadness, and surprise. Results from the implementation demonstrate the system's effectiveness in accurately detecting emotions from facial expressions and providing corresponding music recommendations. The CNN model achieved a final accuracy of 62.44% after 10 epochs of training. Realtime emotion detection using OpenCV successfully identifies facial expressions, allowing for dynamic adjustments to the music playlist. Overall, the Emotion-based Music Player System presents a novel approach to enhancing user experience by leveraging facial emotion data and advanced machine learning techniques to deliver personalized music recommendations tailored to individual emotional states.

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39

Fox, Christopher. "TIME, HISTORY, COMPOSING". Tempo 72, n.º 286 (6 de septiembre de 2018): 64–72. http://dx.doi.org/10.1017/s0040298218000360.

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AbstractThis article is based on a lecture given on 28 April 2018 as the keynote address at the inaugural conference of CenM@S, the Centre for New Music at Sheffield University. It offers a series of reflections on time and musical composition, time being considered both in the sense of history – our present sense of the past – and experiential time as we listen to music. Specific reference is made to the author's Canti del carcere (2012–18) and the texts by Gramsci and Dante that are set in these madrigals, each of which is also concerned with the passage of time and the ways in which ideas become consolidated. Ideas of time and history in the music of Cage, Nono and Feldman are also considered.

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40

Mertesdorf, Frank L. "Cycle Exercising in Time with Music". Perceptual and Motor Skills 78, n.º 3_suppl (junio de 1994): 1123–41. http://dx.doi.org/10.2466/pms.1994.78.3c.1123.

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Different forms of exercise with a cycle ergometer in time with music were studied in comparison: exercise in time with a rhythm or with music at constant and movement-controlled music tempos, with simultaneous arm and leg work, and with leg work alone. For this pilot study an exercise cycle with arm levers movable forward and backward for additional arm work was equipped with a mechanically brak-able flywheel. At a movement-controlled music tempo synthesizer music was synchronized with the movement rhythm by electrical pulses generated during each pedal rotation. A point approximately 8° to 15° before the horizontal pedal position during leg stretching was preferred as the onset of the beats during movement-controlled tempo. The subjects preferred pedalling rates between about 70 and 90 revolutions • min.−1, two-thirds with movement-controlled and one-third with preset music tempo. At a comparable work-load, rhythm was rared as more boring than musical accompaniment, but there were no significant differences between the ratings of discomfort, strain, or boredom for the two forms of musical accompaniment and no interaction with the preference for them.

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41

Goto, Masataka. "Music scene description: Toward audio-based real-time music understanding". Journal of the Acoustical Society of America 111, n.º 5 (2002): 2349. http://dx.doi.org/10.1121/1.4777875.

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42

FREDRIKSSON, KIMMO, VELI MÄKINEN y GONZALO NAVARRO. "FLEXIBLE MUSIC RETRIEVAL IN SUBLINEAR TIME". International Journal of Foundations of Computer Science 17, n.º 06 (diciembre de 2006): 1345–64. http://dx.doi.org/10.1142/s0129054106004455.

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Music sequences can be treated as texts in order to perform music retrieval tasks on them. However, the text search problems that result from this modeling are unique to music retrieval. Up to date, several approaches derived from classical string matching have been proposed to cope with the new search problems, yet each problem had its own algorithms. In this paper we show that a technique recently developed for multipattern approximate string matching is flexible enough to be successfully extended to solve many different music retrieval problems, as well as combinations thereof not addressed before. We show that the resulting algorithms are average-optimal in many cases and close to average-optimal otherwise. Empirically, they are much better than existing approaches in many practical cases.

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43

Arbhirizky, Muhammad y Imam Setyobudi. "KEAGENAN KELOMPOK ALUNAN NUSANTARA TERHADAP HABITUS SELERA MUSIK INDONESIA 1977–1980". Jurnal Budaya Etnika 8, n.º 1 (14 de junio de 2024): 115. http://dx.doi.org/10.26742/jbe.v8i1.3304.

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ABSTRAK Penulisan ini mengangkat tentang fenomena populernya kembali musik lawas Indonesia 1977—1980, khususnya musik dari Gank Pegangsaan. Kelompok Alunan Nusantara sebagai agen yang berperan dalam mempopulerkan kembali musik lawas Indonesia menjadi objek dari Penulisan ini. Selanjutnya, kelompok ini disesuaikan dengan konsep habitus, disertai analisis berdasarkan teori nostalgia. Penulisan ini merupakan Penulisan kualitatif dengan metode observasi partisipasi, wawancara, dan studi pustaka. Penulisan ini menghasilkan simpulan bahwa: 1) Alunan Nusantara menularkan selera musik Indonesia 1977—1980 lewat konten instagram yang menarik, 2) orang tua dari masing- masing aktor Alunan Nusantara berperan penting dalam membagikan nostalgia, 3) musik Indonesia 1977—1980, yaitu Gank Pegangsaan, merupakan puncak kreativitas musik Indonesia. Hal ini dapat diketahui lewat syair dan aransemen musiknya yang berbeda dari musik Indonesia pada umumnya saat itu serta banyak terpengaruh dari elemen musik rok progresif. Hal inilah yang menjadi daya tarik bagi aktor Alunan Nusantara. Kata kunci: Alunan Nusantara, Nostalgia, Selera Musik, Rok Progresif, Habitus Selera ABSTRACT This research talks about the phenomenon of the re-popularity of 1977—1980 Indonesian music, especially the music of Gank Pegangsaan. The Alunan Nusantara group as an agent that plays a role in the re-popularization of this music is the main object of this research. Afterwards, this group is adjusted to the concept of habitus, and analyzed with nostalgia theory. This research is a qualitative research with some method, such as participatory observation, interview, and literature study. The concludes from this research is: 1) Alunan Nusantara introduce 1977—1980 Indonesian musical tastes through interesting Instagram content, 2) the parents of each Alunan Nusantara’s actor played an important role in sharing their nostalgia, 3) Indonesian music from 1977—1980, namely Gank Pegangsaan, is the peak of creativity of Indonesian musi. This can be seen through the lyrics and musical arrangements, which are different from Indonesian musics in general at that time and are heavily influenced by progressive rock’s element. This is the main attraction for Alunan Nusantara actors Key words: Alunan Nusantara, Nostalgia, Musical Taste, Progressive Rock, Taste Habitus

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Voronina, N. I. "SOUND – MUSIC – CULTURE: SPACE-TIME REFLECTION". Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, n.º 91 (2023): 114–20. http://dx.doi.org/10.37313/2413-9645-2023-25-91-114-120.

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The article presents reflections on the metaphysics of music, first of all, by posing the eternal question, which is difficult to answer: "What is music?"; Why is it, along with literature, painting, religious creativity, always at the boundary of acute socio-cultural discussions, becoming a stumbling block in endless disputes about the meaning of being? In this series, the definitions of music are clearly read by thinkers and musicians. The methodology of the “sphere of soundmusic” concept is essentially as universal as the sphere of culture and religion; that is why scientists and theosophists of antiquity and the Middle Ages often used music as a phenomenon to explain the world order and the complex mechanisms of the human soul. Music in all its aspects, therefore, has already been recognized for many centuries as something exceptionally suitable for building models that help to understand areas no less material than itself. The author comes to the conclusion that in people gifted with exceptional creative impulsiveness, inquisitiveness, volitional struggle means one of the important properties of his work. Pulsating feelings and thought of the creator, passion, emotionality, volitional aspirations give rise to a certain style of musical thinking, individual in its manifestations, but based on the main spiritual and creative foundations of the time. Not an individual, but rather a confessional, intimate-personal aspect of the confessional expresses a special symbolic dominant of culture and is especially clearly manifested in music.

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Ansani, Alessandro, Marco Marini, Luca Mallia y Isabella Poggi. "Music and Time Perception in Audiovisuals: Arousing Soundtracks Lead to Time Overestimation No Matter Their Emotional Valence". Multimodal Technologies and Interaction 5, n.º 11 (29 de octubre de 2021): 68. http://dx.doi.org/10.3390/mti5110068.

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One of the most tangible effects of music is its ability to alter our perception of time. Research on waiting times and time estimation of musical excerpts has attested its veritable effects. Nevertheless, there exist contrasting results regarding several musical features’ influence on time perception. When considering emotional valence and arousal, there is some evidence that positive affect music fosters time underestimation, whereas negative affect music leads to overestimation. Instead, contrasting results exist with regard to arousal. Furthermore, to the best of our knowledge, a systematic investigation has not yet been conducted within the audiovisual domain, wherein music might improve the interaction between the user and the audiovisual media by shaping the recipients’ time perception. Through the current between-subjects online experiment (n = 565), we sought to analyze the influence that four soundtracks (happy, relaxing, sad, scary), differing in valence and arousal, exerted on the time estimation of a short movie, as compared to a no-music condition. The results reveal that (1) the mere presence of music led to time overestimation as opposed to the absence of music, (2) the soundtracks that were perceived as more arousing (i.e., happy and scary) led to time overestimation. The findings are discussed in terms of psychological and phenomenological models of time perception.

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Herlinawati, Lina. "FUNGSI KARINDING BAGI MASYARAKAT CIKALONGKULON KABUPATEN CIANJUR". Patanjala : Jurnal Penelitian Sejarah dan Budaya 1, n.º 1 (1 de marzo de 2009): 96. http://dx.doi.org/10.30959/patanjala.v1i1.237.

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AbstrakKarinding adalah satu jenis alat musik tradisional, dibuat dari bambu atau pelepah enau. Alat musik itu dimainkan oleh mulut disertai pukulan jari tangan, sehingga menghasilkan bunyi yang yang unik dan low decible. Alat musik tersebut diciptakan oleh leluhur petani Sunda. Selain untuk bermain musik, bunyi alat itu dipercaya dapat mengusir hama dan binatang perusak tanaman. Fungsi karinding demikian itu masih berlangsung pada masyarakat Cikalongkulon Kabupaten Cianjur.Seiring dengan perkembangan zaman, kemudian karinding menjadi alat hiburan, bahkan kini menjadi bentuk kesenian yang menarik, karena dapat dikola-borasikan dengan alat-alat musik lain. AbstractKarinding is a traditional music instrument, which is made from bamboo or palm leaf. This music instrument is played by mouth, alongside with tap from finger, creating an unique, low decible sound.This music instrument is created by the Sundanese farmer ancestor. In addition to its function as a music instrument, the sound of this instrument is believed as a pest repellant. This specific function is still believed by the people of Cikalong Kulon in Bandung Residence.Along with time, karinding developed into an entertainment tool, even as an attractive form of art because its combinable with other music instrument.

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Blackstone, Victoria. "Music cures music". British Homeopathic Journal 82, n.º 04 (octubre de 1993): 258–63. http://dx.doi.org/10.1016/s0007-0785(05)80660-x.

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AbstractEach of us is a piece of music playing all the time. When that music is phased with a similar piece of music, healing is produced. Music cures music and silence is restored. Silence being produced equals cure. Every homoeopathic medicine is a piece of music with tune, pace and rhythm. If we can correctly identify the music of the patient, and the music of the medicine, we will go towards cure. The tune is the similimum, and the pace and rhythm are the potency and the repetition. The theme of this seminar is music.

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Yosephine, Yosephine, Monty P. Satiadarma y Yohana Theresia. "PENGARUH TERAPI MUSIK TERHADAP PENURUNAN PERILAKU AGRESI PADA REMAJA". Jurnal Muara Ilmu Sosial, Humaniora, dan Seni 3, n.º 2 (14 de octubre de 2019): 509. http://dx.doi.org/10.24912/jmishumsen.v3i2.3562.2019.

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Buss (dalam Baron & Richardson, 2004) mengatakan bahwa perilaku agresi merupakan sebuah tindakan yang bertujuan untuk menyakiti orang lain. Perilaku agresi paling tinggi berada pada masa perkembangan remaja, khususnya pada usia 14 sampai dengan 18 tahun (Farrel et al., 2005; Karriker-Jaffe, Foshee, Ennett, & Suchindran, 2009). Terapi musik merupakan proses penyembuhan yang menggunakan media musik untuk memenuhi kebutuhan fisik, emosional, kognitif, dan sosial pada individu di segala umur (AMTA, 2005). Terapi musik diprediksi dapat menurunkan perilaku agresi pada remaja, terbukti dari berbagai penelitian terdahulu. Tujuan penelitian ini adalah untuk mengetahui pengaruh terapi musik terhadap penurunan perilaku agresi pada remaja di Jakarta. Pada penelitian ini, peneliti menyertakan 30 siswa di SMA X, Jakarta dengan menggunakan teknik purposive-criterion sampling dan quota sampling. Partisipan dibagi menjadi 3 kelompok, yaitu (a) kelompok terapi musik aktif, (b) kelompok terapi musik pasif, dan (c) kelompok kontrol. Desain penelitian adalah true experiment dengan three-group pretest-posttest, yang menganalisis data dengan Uji ANOVA. Hasil penelitian menunjukkan terapi musik dapat menurunkan perilaku agresi secara signifikan (p<0.05). Hal tersebut menunjukkan bahwa baik terapi musik aktif maupun terapi musik pasif dapat diterapkan untuk menurunkan perilaku agresi pada remaja. Buss (in Baron & Richardson, 2004) says that aggressive behavior is an action that aims to hurt others. The highest aggression behavior is occur when the adolescence developed itself time to time, especially at ages 14 to 18 years (Farrel et al., 2005; Karriker-Jaffe, Foshee, Ennett, & Suchindram, 2009). Music therapy is a healing process that uses music media to meet physical, emotional, cognitive, and social needs in individuals of all ages (AMTA, 2005). Music therapy is predicted can be reduce aggressive behavior in adolescence, as evidenced by various previous studies. The purpose of this research is to determine the result of the decreasing aggressive behavior toward the adolescence in Jakarta. In this study, researchers included 30 students at SMA X, Jakarta using purposive-ciretrion sampling and quota sampling techniques. Participants were divided into 3 groups, and the groups are; (a) active music therapy group, (b) passive music therapy group, and (c) control group. The design of this experiment is using a true experiment with three-group pretest-posttest, which analyzes data with ANOVA test. The results showed that music therapy can significantly reduce aggressive behavior (p <0.05). This shows that both active music therapy and passive music therapy can be applied to reduce aggressive behavior in adolescence.

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Perrone, Charles A. "Brazil". Popular Music 6, n.º 2 (mayo de 1987): 219–26. http://dx.doi.org/10.1017/s0261143000006000.

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With its blends of Amerindian, African and European sources, Brazil has one of the richest and most diverse musical cultures in the world. Primitive tribal musics flourish in the Amazon, rural and urban regions practise many folk/traditional forms, and cosmopolitan art music has been produced since before the time of Villa-Lobos. Various musics that can be considered popular reflect both this wide national spectrum and the impact of international mass media pop music. Here, a description of the major tendencies in contemporary urban popular music of Brazil will be followed by bibliographical and discographic indications for further study or research.

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Sá, Joana. "Listening | the open – music as disruptive topological experience". Dramaturgias, n.º 11 (30 de septiembre de 2019): 142–62. http://dx.doi.org/10.26512/dramaturgias.v0i11.27388.

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This article reflects on the relation between music body(ies)1, body(ies) of music2 and notions of musical ‘space-time’ in the composition and performance process of Listening | the open, a trilogy for disruptive bodies, by Joana Sá.Bringing into discussion new possible notions of space of music as both intrinsic and extrinsic dimensions of music body(ies), and of the body(ies) of music, it proposes approaching music as a disruptive topology. Presentingstrategies that are beyond the dualities of control/out of control, self/other, it emphasizes the fragment or fragmentation as a crucial basic topological event for triggering the musical processes.

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