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Bibliografie tematiche / Musicologie cognitive

Letteratura scientifica selezionata sul tema "Musicologie cognitive"

Autore: Grafiati

Pubblicato: 25 maggio 2024

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Articoli di riviste sul tema "Musicologie cognitive":

1

Nattiez, Jean-Jacques. "Musicologie historique, ethnomusicologie, analyse: Une musicologie générale est-elle possible?" Musicae Scientiae 14, n. 2_suppl (settembre 2010): 333–55. http://dx.doi.org/10.1177/10298649100140s218.

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2

Rousseaux, Francis, e Et Alainbonardi. "“Music-ripping”: Des Pratiques Qui Provoquent la Musicologie". Musicae Scientiae 7, n. 1_suppl (settembre 2003): 111–23. http://dx.doi.org/10.1177/10298649040070s106.

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Hors des placements habituels de l'informatique dans le domaine de la musique et de Ja musicologie, on constate depuis peu l'apparition de systèmes hommes-machines qui manifestent leur existence en rupture avec une tradition certes encore jeune, mais déjà operante. Car si ces systèmes singuliers opèrent incontestablement dans les champs d'expansion usuels de la musique, ne font aucune référence systèmatique aux catégories musicologiques connues. Au contraire, les expérimentations qu'ils rendent possibles inaugurent des usages où l'écoute. la composition et la transmission musicales se confondent dans un geste parfois qualifié de “music-ripping”. Nous montrerons en quoi les pratiques de “music-ripping” provoquent la musicologie traditionnelle, dont les catégories canoniques s'avèrent ici impuissantes au compte rendu. Pour ce faire, il nous faudra: expliciter un jeu de catégories minimal qui suffise à sous-tendre lesmodeles usuels de la musique assistée par ordinateur; faire de même pour les systèmes hommes-machines (anti-musicologiques?) dont l'existence nous trouble; examiner les conditions de possibilité de réduction du second ensemble catégorial au premier; conclure sur la nature du “music-ripping”.

3

Vangenot, Sylvie. "L'oreille absolue: une oreille plus “fine” ?" Musicae Scientiae 4, n. 1 (marzo 2000): 3–29. http://dx.doi.org/10.1177/102986490000400101.

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Il est souvent dit des musiciens qui possèdent l'oreille absolue qu'ils ont une “bonne oreille”. Celle-ci est associée à une exceptionnelle capacité de discrimination, une plus grande sensibilité aux plus petites différences de hauteur. Nous présentons deux expériences. La première est une tàche d'identification. Elle vise à mettre en évidence l'oreille absolue. Cinquante sept élèves du conservatoire et/ou étudiants en musicologie doivent identifier et placer sur une portée les sons qu'ils entendent. Trois groupes sont alors constitués: les possesseurs de l'oreille absolue, les possesseurs de l'oreille absolue partielle et les non-possesseurs de l'oreille absolue. Nous montrons que plusieurs facteurs affectent la précision des identifications, comme la qualité de timbre et le type de notes. La deuxième partie de ce travail est consacrée à la perception de la hauteur. Une expérience de mesure de seuils permet de montrer que l'acuité des possesseurs de l'oreille absolue est identique à celle des individus non doués d'un tel savoir-faire. De surcroît, l'apprentissage de la musique ne permet pas une augmentation des capacités discriminatives.

4

Guirard, Laurent. "L'apport des théories attributionnelles de la motivation dans l'étude des questions d'aptitude musicale". Musicae Scientiae 1, n. 2 (luglio 1997): 183–204. http://dx.doi.org/10.1177/102986499700100203.

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Les théories motivationnelles de l'attribution ont démontré l'influence pédagogique néfaste des croyances et des pratiques sociales ou éducatives erronées qui focalisent l'attention de l'éléve sur l'évaluation comparée de ses capacités. Or, il semble que plusieurs facteurs psychologiques et sociaux propres à l'apprentissage musical encouragent de telles tendances, et constituent ainsi une difficulté motivationnelle spécifique dont cet article tente, à travers une revue interdisciplinaire de la question, de préciser la nature et les déterminants. En analysant leur effet sur la motivation et l'apprentissage, nous présentons d'abord une série de facteurs cognitifs qui en musique peuvent favoriser l'explication des résultats de l'éléve par son niveau d'aptitude (interactions entre la disparité de l'âge du début de l'apprentissage et le développement normal des processus attributionnels, normes de réussite idéalisées, biais de perspective attributionnelle, carence du feedback, etc.). Nous nous intéressons ensuite à un facteur social qui aggrave et maintient cette tendance: la propension paradoxale du musicien à vouloir faire passer pour naturelles, des compétences et des productions artistiques appartenant objectivement au domaine de l'acquis et de la culture. Nous présentons comment plusieurs approches systématiques ont isolé et analysé, par des méthodes indépendantes (sociologie, épistémologie, musicologie), les fonctions et les effets de cette tendance ancienne et solidement ancrée dans les croyances et les pratiques du milieu. Au terme de cette confrontation, il apparaît que la négligence ou la simple dénonciation des spécificités éthologiques et épistémologiques du milieu, peut sérieusement affecter la diffusion, l'interdisciplinarité, voire la valeur des recherches motivationnelles en pédagogie musicale.

5

Laske, Otto E. "Introduction to Cognitive Musicology". Computer Music Journal 12, n. 1 (1988): 43. http://dx.doi.org/10.2307/3679836.

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6

Laske, Otto E. "Introduction to cognitive musicology". Journal of Musicological Research 9, n. 1 (luglio 1989): 1–22. http://dx.doi.org/10.1080/01411898908574606.

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7

Maróthy, János. "Cognitive Musicology – Praised and Reproved". Studia Musicologica Academiae Scientiarum Hungaricae 41, n. 1 (1 giugno 2000): 119–23. http://dx.doi.org/10.1556/smus.41.2000.1-3.5.

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Huron, David. "Two Challenges in Cognitive Musicology". Topics in Cognitive Science 4, n. 4 (ottobre 2012): 678–84. http://dx.doi.org/10.1111/j.1756-8765.2012.01224.x.

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9

Seifert, Uwe. "Investigating the Musical Mind: Situated Cognition, Artistic Human-Robot Interaction Design, and Cognitive Musicology". Trans-Humanities Journal 4, n. 1 (2011): 149–62. http://dx.doi.org/10.1353/trh.2011.0006.

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Tervaniemi, Mari, e Titia L. van Zuijen. "Methodologies of Brain Research in Cognitive Musicology". Journal of New Music Research 28, n. 3 (1 settembre 1999): 200–208. http://dx.doi.org/10.1076/jnmr.28.3.200.3114.

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Più fonti

Tesi sul tema "Musicologie cognitive":

1

Kreutz, Gunter. "Musikalische Phrasierung aus historischer und kognitionspsychologischer Sicht /". Frankfurt am Main ; Berlin ; New York (N.Y.) : P. Lang, 1998. http://catalogue.bnf.fr/ark:/12148/cb371049317.

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2

Calandra, Joséphine. "L'algorithmie cognitive et ses applications musicales". Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL148.

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Cette thèse présente la formalisation et le développement d’un logiciel d'analyse musicale appelé "Multiscale Oracle Representations For Organized Sounds" (MORFOS). Ce logiciel vise à mettre en œuvre un modèle multi-échelle de la forme musicale basé sur l’Algorithme Cognitif de Jean-Marc Chouvel. Les travaux de cette thèse s'inscrivent dans la continuité de l'analyse cognitive en musicologie, visant à comprendre les processus cognitifs qui interviennent lors de l'écoute musicale. Nous étudions une représentation hiérarchisée de la musique et explorons l’influence de cette hiérarchisation dans l’organisation des événements musicaux dans le temps et la compréhension de la musique. Nous formalisons ainsi les concepts de matériau, d’objet et de diagramme formel, et nous introduisons le Diagramme Formel Multi-échelle qui décrit la structure musicale à différentes échelles temporelles et niveaux d'analyse. Celui-ci est composé de trois plans que nous introduisons : la forme, la structure et l’organisation. L'implémentation informatique de MORFOS a été réalisée en Python et accepte des représentations audio, symboliques ou vectorielles. Ce logiciel présente une architecture modulaire intégrant différents modules de traitement audio, de classification et de segmentation : nous présentons ainsi différentes mesures implémentées sous forme d’un ensemble de règles et discutons des contraintes associées à l’étude de la classification et de la segmentation à partir d’une représentation audio. Nous présentons ainsi la notion d’Agenda, qui correspond au choix par l’utilisateur d’un ensemble de règles permettant de représenter un modèle « d’écoute » pour l’analyse d’une œuvre musicale par le logiciel. La thèse explore également la question de la complexité de la structure musicale : nous proposons l’expression d’un coût associé à la description de l’objet musical acquis en fonction de son contexte, selon la définition de Kolmogorov. Nous cherchons également à comparer le comportement du logiciel MORFOS avec les phénomènes d'attention et la charge cognitive lors de l'écoute musicale. Une expérience visant à mesurer la charge cognitive pendant la tâche de segmentation musicale a ainsi été conçue. Cette thèse présente par ailleurs des réflexions sur la visualisation des diagrammes formels multi-échelles. A cette occasion, nous avons développé une interface permettant de rendre le logiciel accessible à tous les utilisateurs. Enfin, des exemples d'analyses musicales réalisées avec MORFOS sont présentées, sur une base de données musicales pop ainsi qu’un corpus d'œuvres classiques
This thesis presents the formalization and development of a music analysis software called "Multiscale Oracle Representations For Organized Sounds" (MORFOS). This software aims to implement a multi-scale model of musical form based on Jean-Marc Chouvel's Cognitive Algorithm. The work in this thesis is part of the cognitive analysis in musicology, aimed at understanding the cognitive processes involved in listening to music. We study a hierarchical representation of music and explore the influence of this hierarchy on the organization of musical events over time and on musical comprehension. We formalize the concepts of material, object, and formal diagram, and introduce the Multi-scale Formal Diagram, which describes musical structure at different temporal scales and levels of analysis. This comprises three planes, which we introduce: form, structure, and organization. MORFOS has been implemented in Python and accepts audio, symbolic, and vector representations. This software features a modular architecture integrating different modules for audio processing, classification, and segmentation: we present different measures implemented in the form of a set of rules and discuss the constraints associated with the study of classification and segmentation based on an audio representation. We also introduce the notion of Agenda, which corresponds to the user's choice of a set of rules to represent a "listening" model for the software's analysis of a musical work. The thesis also explores the question of the complexity of the musical structure: we propose the expression of a cost associated with the description of the acquired musical object depending on its context, according to Kolmogorov's definition. We also seek to compare the behavior of MORFOS software with attentional phenomena and cognitive load during musical listening. An experiment designed to measure cognitive load during the musical segmentation task has thus been devised. This thesis also presents reflections on the visualization of multi-scale formal diagrams. To this end, we have developed an interface to make the software accessible to all users. Finally, examples of musical analyses carried out with MORFOS are presented, on a pop music database and a corpus of classical works

3

Rodriguez, Hugo. "Sémantique et pragmatique de la musique: Une approche cognitive basée sur le travail de Philippe Schlenker et sur les oeuvres de Franz Liszt". Doctoral thesis, Universite Libre de Bruxelles, 2021. https://dipot.ulb.ac.be/dspace/bitstream/2013/320810/5/Contrat.pdf.

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Ce travail propose une théorie générale de l'interface entre deux dimensions du fait musical : sa dimension sémantique (les significations que la musique peut contenir) et sa dimension pragmatique (ses usages en contexte). Cette théorie se situe dans une perspective naturaliste, au carrefour de trois disciplines : la philosophie de l'esprit, la psychologie cognitive et la musicologie historique. Elle part du postulat que la sémantique et la pragmatique de la musique sont des cas particuliers de certaines normes universelles (par exemple la norme de vérité) et certaines dispositions cognitives et sociales de l'être humain, pour l'essentiel non spécifiques à ce qu'on appelle la musique, l'art et l'esthétique. La première partie trace les grandes lignes de la théorie. Elle se fonde sur les travaux du linguiste et philosophe Philippe Schlenker. On y défend deux thèses principales : une thèse sémantique et une thèse pragmatique. La thèse sémantique soutient que toute signification musicale est indexicale, c'est-à-dire que toute signification musicale consiste dans le fait d'attribuer à une unité formellement cohérente de sons musicaux un ensemble de causes probables. Ces causes probables des sons musicaux peuvent être des entités réelles et/ou fictives, des entités objectives et/ou subjectives, des entités productrices de son ou non. Dans tous les cas, ces entités sont situées dans le contexte d'écoute de la musique, et la musique les « indique » à l'auditeur (d'où le terme « indexical »). Ces entités sont alors tenues pour être les contenus indexicaux vrais ou faux de la musique. La thèse pragmatique soutient que toute communication en musique consiste à organiser intentionnellement (y compris à distance, via des dispositifs de médiation adéquats, tels que des programmes, des techniques et lieux d'écoute, des rituels et autres conventions) la relation entre la musique composée/interprétée d'une part, et le contexte effectif ou supposé où cette musique sera perçue d'autre part, de sorte à maximiser la pertinence des significations indexicales, vraies ou fausses, inférées de l'écoute musicale dans ce contexte. La seconde partie du travail approfondit ces thèses en étudiant en détail trois phénomènes sémantico-pragmatiques suffisamment riches et complexes : la fiction, la narration et l'évocation. Cette seconde partie est bâtie sur l'analyse de trois poèmes symphoniques de Franz Liszt (Hamlet, Tasso et Mazeppa). Elle est ancrée dans le contexte de la querelle entre la musique à programme et la musique pure, qui a agité les milieux musicaux au XIXe siècle autour des mêmes problématiques que celles de ce travail.
This PhD aims to build a general theory of the interface between two dimensions of music : its semantic dimension (i.e. the meaningful nature of music) and its pragmatic dimension (i.e. the uses of music in context). The theory is grounded in a naturalistic perspective, at the intersection of three disciplines :philosophy of mind, cognitive psychology and historical musicology. The basic premise is that semantics and pragmatics of music are just particular cases of certain universal norms (i.e. the norm of truth) and certain social-cognitive dispositions of the human being, essentially non specific to what is usually called music, art or æsthetics. The first part outlines the main aspects of the theory, building on the work of linguist and philosopher Philippe Schlenker. We defend two claims :a semantic one and a pragmatic one. The semantic claim is that every musical meaning is indexical. In other words, a musical meaning is the set of possible causes attributed to a formally coherent unit of musical sounds, be they real and/or fictional causes, objective and/or subjective causes, sound producing or not sound producing causes. In any case, these possible causes are entities that are located within the listening context and are “indicated” by the music to the listener (hence the use of the word “indexical”). The entities that have possibly caused the musical sounds are, then, considered to be the true or false indexical content of the music. The pragmatic claim is that communication in music consists in organizing intentionally (including indirectly, at a distance, by means of relevant devices, such as programs, listening technologies, performance places, rites and other conventions, etc.) the relation between the composed and/or performed music and the supposed or effective context where the music would be listened, in order to enhance as much as possible the relevance of the true or false indexical meanings, inferred from the musical listening in this context. In the second part, the two hypotheses are further investigated by focusing on more complex semantico-pragmatic issues. We propose an in-depth analysis of three phenomena : fiction, narration and evocation. This three-part study is based on a detailed analysis of three symphonic poems by Franz Liszt (Hamlet, Tasso and Mazeppa). It is also grounded in the context of a central episode of 19th Century musical life :the quarrel between program music and pure music about the same semantic and pragmatic issues.
Doctorat en Langues, lettres et traductologie
info:eu-repo/semantics/nonPublished

4

Matzkin, Daniel. "Perception de similarité de mélodies tonales et non tonales : étude pluridisciplinaire". Paris, EHESS, 2001. http://www.theses.fr/2001EHES0125.

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L'expertise musicale des auditeurs influe-t-elle sur la manière dont la similarité est perçue ? Comment reconstruire un jugement de similarité en termes des processus mentaux sous-jacents ? S'agit-il de processus spécifiques à la perception mélodique ? La perception de similarité obéit à une nécessité écologique de base : l'adaptation des organismes à leur environnement. Une revue des processus mentaux sous-jacents à la reconnaissance et à la généralisation de patterns suggère que les opérations mentales mises en jeux lors de la perception de similarité mélodique ne sont pas nécessairement particulières à la faculté musicale. Certaines activités périphériques et centrales du cerveau peuvent être modélisées relativement correctement à partir d'une conception réductionniste de son fonctionnement. Différents exemples provenant de fonctions cognitives très variées permettent de faire l'hypothèse que la perception de similarité mélodique pourrait être prédite par un modèle additif combinant des traitements des dimensions musicales " hauteur " et " durée ". Ce mémoire fournit quelques données permettant de caractériser les processus mentaux sous-jacents à la perception de similarité mélodique (modularité, perception des propriétés configurationnelles, et expertise musicale). Les similarités entre ces processus et ceux d'autres facultés mentales sont soulignées. Les données montrent une nouvelle relation entre la perception du contour mélodique et la durée, et amènent à reformuler les modèles de traitement existants. Un modèle computationnel de la perception de similarité mélodique a été proposé, ses liens avec les caractéristiques de la loi de Shepard sont soulignés. Toutefois, des limitations importantes bornent le degré de généralisation des données. Cela tient aux caractéristiques des stimuli musicaux utilisés, à l'approche simplificatrice qui a été adoptée, ainsi qu'aux analyses statistiques effectuées
Does the musical expertise of listeners influence the way in which similarity is perceived? How can we rebuild a similarity judgement in terms of the subjacent mental processes? Are these processes specific to melody perception? Similarity perception obeys a basic ecological need: the adaptation of organisms to their environment. A review of the mental processes subjacent with the recognition and generalization of patterns suggests that the mental operations behind melodic similarity perception are not necessarily particular with the musical faculty. Certain peripheral and central activities of the brain can be modelled relatively correctly starting from a reductionistic approach. Various examples coming from very different cognitive faculties makes it possible to make assume that melodic similarity perception could be predicted by an additive model combining the processing of musical dimensions “height” and “duration”. This research provides data making possible to characterize some of the computations underlying melodic similarity perception (modularity, perception of the configurational properties, and musical expertise). Similarities between these processes and those of other mental faculties are underlined. Data shows a new relation between the perception of the melodic contour and duration, and conveys to reformulate the existing processing models. A computational model of melodic similarity perception is proposed. Its links with the of the Shepard law are underlined. However, significant limitations limit the degree of data generalization. It is due to the characteristics of the musical stimuli used, to the simplifying approach which was adopted, as well as with the type statistical analyses carried out

5

Cintra, Celso Luiz de Araujo. "A musicologia comparada de Alain Daniélou: contribuições para um diálogo musical". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-23082013-105909/.

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A tese que aqui apresentamos tem como objetivo geral estender a contribuição dos estudos de Daniélou para os campos da Filosofia da Música, Teoria Musical e da Cognição Musical, indo além do campo da Etnomusicologia dentro do qual o trabalho de Daniélou é comumente classificado; e seu objetivo específico é compreender sua contribuição para o entendimento da música em nossos dias, tanto no que se refere à sua recepção quanto às possibilidades que abre aos seus aspectos criativos. Sendo coerentes com o sistema de pensamento indiano de Alain Daniélou, e com sua afirmação da incognoscibilidade da realidade última e da falsidade da verdade tomada como dogma, analisamos seus estudos e pesquisas como interpretações ou redescrições possíveis do fenômeno musical, para isso nos baseamos na aproximação feita por Gadamer entre Teoria e Filosofia e na proposta de Rorty de que novas redescrições do objeto contribuem para ampliar o seu conhecimento, além disso concordamos com o que Kuhn aponta a respeito dos paradigmas científicos, e que Vattimo atribui especialmente às artes: a persuasão e convencimento retóricos têm um papel preponderante na consolidação de um paradigma, seja ele artístico ou científico. Entendemos as acepções musicais de Daniélou como próximas à de autores como Titus Burckhardt e sua proposição de Arte Sagrada, bem como de Joscelyn Godwin e a Música Especulativa. Analisam-se também os estudos e pesquisas de Daniélou mais como uma proposição, uma contribuição para o desenvolvimento de uma nova possibilidade criativa no domínio musical, do que uma sistematização de uma música já existente. Como resultado, a aproximação do trabalho de Daniélou permite a possibilidade de delimitação e comparação dos grupos de termos Música Especulativa e Especulação Musical; Música Sagrada e Sacralização da Música; Doutrina do Ethos, Teoria dos Afetos, e Expressão dos Sentimentos; a simbologia envolvida na metafísica musical proposta por Daniélou e a abordagem de sua Escala Universal dos Sons que nos permite delimitar os termos Tônica e Fundamental. Por fim propõe-se uma interpretação teóricofilosófica dirigida à poética da criação musical, considerando possibilidades abertas por sua escala como uma espécie diferente do relativismo do sistema do Temperamento Igual, um perspectivismo, campo fértil para a criação.
This thesis aims to extend the contribution of Daniélou\'s studies for the fields of Philosophy of Music, Music Theory and Musical Cognition, going beyond the field of Ethnomusicology within which his work is commonly classified, and to understand its contribution to the understanding of music today, both with regard to its reception and to the possibilities that its creative aspects opens. Being consistent with the system of Indian thought of Alain Daniélou, and its affirmation of the unknowability of ultimate reality and falsehood of the truth taken as dogma, we analyze their studies and researches as possible redescriptions or interpretations of the musical phenomenon, for this we based on the approach made by Gadamer between Theory and Philosophy and Rorty\'s propose that new object redescriptions contribute to broaden your knowledge, beyond this, we agree with Kuhn points about the scientific paradigms, and Vattimo attaches especially to the arts: persuasion and rhetorical conviction have a leading role in the consolidation of a paradigm, be it artistic or scientific. We understand the musical descriptions of Daniélou as close to the authors like Titus Burckhardt and his proposition of Sacred Art as well as Joscelyn Godwin and the Speculative Music. It also analyzes the studies and the surveys of Daniélou more like a proposition, a contribution to the development of a new creative possibility in the field of music, than a systematization of an existing music. As a result, the approach of the Daniélou\'s work allows the possibility of defining and comparing the groups and terms Speculative Music and Musical Speculation; Sacred Music and Sacralization of Music; Doctrine of Ethos, Theory of Affections, and Expression of Feelings; the symbolism involved in musical metaphysical approach proposed by Daniélou and his Universal Scale of the Sounds allows us to define the terms Tonic and Fundamental or Root. Finally we propose a theoretical-philosophical interpretation addressed to the poetics of musical creation considering the possibilities opened up by its scale as a different kind of relativism of the Equal Temperament System, perspectivism, fertile ground for the creation.

6

Andreatta, Moreno. "Méthodes algébriques dans la musique et la musicologie du XXème siècle : aspects théoriques, analytiques et compositionnels". Phd thesis, Ecole des Hautes Etudes en Sciences Sociales (EHESS), 2003. http://tel.archives-ouvertes.fr/tel-00004074.

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L'application de méthodes algébriques en musique représente une démarche récente dans la recherche musicale. Une réflexion historique sur l'émergence du concept de structure algébrique en musique met en évidence la place centrale occupée par trois compositeurs/théoriciens du XXe siècle : Milton Babbitt, Iannis Xenakis et Anatol Vieru. À partir de leurs propositions théoriques, cette étude développe une réflexion approfondie sur la notion de théorie musicale dans ses applications aussi bien analytiques que compositionnelles. Elle offre également une formalisation algébrique de la Set Theory et de ses développements transformationnels tout en discutant les rapports entre la tradition analytique américaine et la démarche théorique formelle en Europe. Les concepts abordés permettent de définir la place d'une démarche computationnelle en musicologie et ouvrent des questions philosophiques sur le rapport entre mathématiques et musique.

7

Kaastra, Linda Tina. "Systematic approaches to the study of cognition in Western art music performance". Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/678.

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This dissertation presents an instrumentalist’s perspective on cognition and meta-cognition in music performance. The goal of the study is to identify and apply methods of inquiry that are phenomenologically resonant with instrumental practice. The first chapter, situating the study in the context of the writer’s musical training, examines ways of studying and representing performance knowledge. The second chapter presents a case study of the preparation of Tōru Takemitsu’s Masque for Two Flutes (1959-1960). Using grounded theory methodology, this chapter investigates the role of gesture in the negotiation of musical understanding. Chapters 3 through 5 draw on Herbert H. Clark’s joint activity theory of language use to conceptualize music-making, taking into account context, process, and other domains of musical activity. Finally, Chapter 6, in addition to re-defining "virtuosity" for the 21st century instrumentalist, presents a set of philosophical considerations for cognitive studies in music performance.

8

Boenn, Georg. "Automated analysis and transcription of rhythm data and their use for composition". Thesis, University of Bath, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538138.

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Hiller, James. "Theoretical Foundations for Understanding the Meaning Potentials of Rhythm in Improvisation". Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/126076.

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Abstract (sommario):

Music Therapy
Ph.D.
This study is a theoretical inquiry into the meaning potentials of rhythm in improvisation, with implications for improvisational music therapy. A review of music therapy literature regarding assessment and treatment reveals that improvisation is a widely applied music therapy method, but that rhythm--found universally in all forms of clinical improvisational processes--has received little attention. Theories from the areas of music philosophy, psychology of music, social psychology of music, musicological studies of jazz, and music therapy are explicated and implications for potential meanings of rhythm for improvisation and improvisational music therapy are described. Concepts that are foundational to the ways that the various theories find meaning in music include symbolism, metaphorical conceptualization, and interpersonal interactions. Theoretical foci for analysis include improvised rhythm (i.e., the rhythmic products), an improviser or co-improviser's processes while playing, and the perspective of a listener. Differences between solo improvisation and co-improvisation processes are considered. An integral theory of rhythm in improvisation is proposed along with clinical implications. Potential benefits of the study for music therapy and musicology are proposed and considerations for future investigations regarding the topics of rhythm and improvisation are articulated.
Temple University--Theses

10

West, Tore, e Anna-Lena Rostvall. "Interaktion och kunskapsutveckling : en studie av frivillig musikundervisning". Doctoral thesis, Stockholms universitet, Centrum för musikpedagogisk forskning (MPC), 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-73704.

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In a joint dissertation project, 11 brass instrument and guitar lessons, with 4 teachers and 21 students aged 9-35 years, were videotaped, transcribed and analyzed. Two were group lessons and 9 were private lessons. The object of the project was to study how music teaching and learning can be understood from an institutional perspective by describing, analyzing and interpreting musical instrument lessons. The lessons were viewed as social encounters in which the action of participants creates and re-creates social orders at different institutional levels, by means of communication routines using speech, music and gesture. Data were derived from micro-ethnographic transcriptions of speech, gesture and music of a total of five hours of videotape, supplemented by text analyses of 14 method-books. The transcripts were analyzed as text from the perspective of critical discourse analysis. At the analytical level the study applied the cognitive concepts of experiencing and learning music, as well as those of educational genres of speech and music use. The analyzed data were interpreted and discussed from the perspectives of interaction-theory and institution-theory. The results show how the music during the lessons was broken down into separate notes, as read from the score. Music was not addressed as phrases, rhythms, or melodies. Expressive qualities of music performance were not addressed. The characteristics of the interaction were found to be asymmetric, with the teacher being the one controlling the definition of the situation. Student attempts to take initiative were ignored by teachers. This asymmetric pattern of interaction had negative consequences for students’ as well as teachers’ opportunities to learn. The organization of the teaching situation as well as teaching methods is discussed from the perspective of institution-theory. A major conclusion is that the way instrument teaching is organized leaves little room for students and teachers to discuss and reflect on the teaching process.

Libri sul tema "Musicologie cognitive":

1

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

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2

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

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3

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

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4

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

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

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

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7

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

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

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9

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

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10

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

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Più fonti

Capitoli di libri sul tema "Musicologie cognitive":

1

Leman, Marc. "Cognitive Foundations of Systematic Musicology". In Music and Schema Theory, 187–95. Berlin, Heidelberg: Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/978-3-642-85213-8_13.

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2

Louhivuori, Jukka. "Systematic, cognitive and historical approaches in musicology". In Music, Gestalt, and Computing, 30–41. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/bfb0034105.

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3

Godøy, Rolf Inge. "Sonic Object Cognition". In Springer Handbook of Systematic Musicology, 761–77. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_35.

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Leman, Marc, Pieter-Jan Maes, Luc Nijs e Edith Van Dyck. "What Is Embodied Music Cognition?" In Springer Handbook of Systematic Musicology, 747–60. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_34.

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5

Norris, Christopher. "The Perceiver’s Share (2): Deconstructive Musicology and Cognitive Science". In Language, Logic and Epistemology, 185–226. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230512368_6.

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Lesaffre, Micheline. "Investigating Embodied Music Cognition for Health and Well-Being". In Springer Handbook of Systematic Musicology, 779–91. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_36.

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7

Leman, Marc, e Albrecht Schneider. "Origin and nature of cognitive and systematic musicology: An introduction". In Music, Gestalt, and Computing, 11–29. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/bfb0034104.

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Cambouropoulos, Emilios, e Maximos Kaliakatsos-Papakostas. "Cognitive Musicology and Artificial Intelligence: Harmonic Analysis, Learning, and Generation". In Handbook of Artificial Intelligence for Music, 263–81. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72116-9_10.

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Erdem, Çağrı. "Exploring Musical Agents with Embodied Perspectives". In Current Research in Systematic Musicology, 321–41. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-57892-2_17.

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AbstractThis chapter presents a retrospective of five interactive systems I have developed focusing on how machines can respond to body movement in music performance. In particular, I have been interested in understanding more about how humans and non-human entities can share musical control and agency. First, I give an overview of my musical and aesthetic background in experimental music practice and a less conventional approach to sound and music control. Then follows a presentation of embodiment and music cognition theories that informed the techniques and methods I employed while developing these systems. Then comes the retrospective section structured around five projects. Biostomp explores the unintentionality of body signals when used for music interaction. Vrengt demonstrates musical possibilities of sonic microinteraction and shared control. RAW seeks unconventional control through chaos and automation. Playing in the “air” employs deep learning to map muscle exertions to the sound of an “air” instrument. The audiovisual instrument CAVI uses generative modeling to automate live sound processing and investigates the varying sense of agency. These projects show how an artistic–scientific approach can diversify artistic repertoires of musical artificial intelligence through embodied cognition.

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Haugen, Mari Romarheim. "Musical Meter as Shape: An Embodied Perspective on Metrical Trajectories and Curves". In Current Research in Systematic Musicology, 37–48. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-57892-2_3.

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AbstractThe perception of musical rhythm includes not only the sonic rhythm but also the endogenous reference structures, such as meter. Musical meter is often described and understood as points in time or durations between such points. In this chapter, I argue that musical meter also has a shape. I propose that we perceive and make sense of musical meter based on our previous musical experiences involving meter-related bodily motion. In other words, the meter-related motion is integral to the perceived meter—they are the same. Meter thus has a shape that relates to the embodied sensations of these movements. Also crucial is the notion that musical meter is conditioned by musical culture. This perspective on meter as shape is highly influenced by Godøy’s motor-mimetic perspective on music perception and musical shape cognition and concurs with the multimodal approach to sonic design that acknowledges motion as intrinsic to music performance and perception.

Atti di convegni sul tema "Musicologie cognitive":

1

Seifert, Uwe, Sebastian Klaßmann, Timo Varelmann e Nils Dahmen. "Computational Thinking in der Musikwissenschaft: Jupyter Notebook als Umgebung für Lehre und Forschung". In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.72.

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We show that in connection with the digitalization of musicology a special kind of mathematical and logical thinking, i. e. computational thinking/literacy, is in need. Computational thinking is characterized by effective procedures whereas computational literacy includes the implementation of these procedures on machines, i.e. programming. Both are the core of formalization, model building and computer simulation. Furthermore, we point out that “computation” as a central concept for the sciences in the 21st century and its use in cognitive science and the computational sciences make it necessary to reassess the basic assumptions underlying musicological research as science of mind (Geisteswissenschaft). We propose a digital habitat to integrate computational thinking/literacy in musicology and to become acquainted with model building and computer simulation. Jupyter Notebook provides a basis for such a digital habitat. We describe our use of Jupyter Notebook as a teaching environment for computational thinking/literacy.