Literatura científica selecionada sobre o tema "Musicologie cognitive"
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Artigos de revistas sobre o assunto "Musicologie cognitive"
Nattiez, Jean-Jacques. "Musicologie historique, ethnomusicologie, analyse: Une musicologie générale est-elle possible?" Musicae Scientiae 14, n.º 2_suppl (setembro de 2010): 333–55. http://dx.doi.org/10.1177/10298649100140s218.
Texto completo da fonteRousseaux, Francis, e Et Alainbonardi. "“Music-ripping”: Des Pratiques Qui Provoquent la Musicologie". Musicae Scientiae 7, n.º 1_suppl (setembro de 2003): 111–23. http://dx.doi.org/10.1177/10298649040070s106.
Texto completo da fonteVangenot, Sylvie. "L'oreille absolue: une oreille plus “fine” ?" Musicae Scientiae 4, n.º 1 (março de 2000): 3–29. http://dx.doi.org/10.1177/102986490000400101.
Texto completo da fonteGuirard, Laurent. "L'apport des théories attributionnelles de la motivation dans l'étude des questions d'aptitude musicale". Musicae Scientiae 1, n.º 2 (julho de 1997): 183–204. http://dx.doi.org/10.1177/102986499700100203.
Texto completo da fonteLaske, Otto E. "Introduction to Cognitive Musicology". Computer Music Journal 12, n.º 1 (1988): 43. http://dx.doi.org/10.2307/3679836.
Texto completo da fonteLaske, Otto E. "Introduction to cognitive musicology". Journal of Musicological Research 9, n.º 1 (julho de 1989): 1–22. http://dx.doi.org/10.1080/01411898908574606.
Texto completo da fonteMaróthy, János. "Cognitive Musicology – Praised and Reproved". Studia Musicologica Academiae Scientiarum Hungaricae 41, n.º 1 (1 de junho de 2000): 119–23. http://dx.doi.org/10.1556/smus.41.2000.1-3.5.
Texto completo da fonteHuron, David. "Two Challenges in Cognitive Musicology". Topics in Cognitive Science 4, n.º 4 (outubro de 2012): 678–84. http://dx.doi.org/10.1111/j.1756-8765.2012.01224.x.
Texto completo da fonteSeifert, Uwe. "Investigating the Musical Mind: Situated Cognition, Artistic Human-Robot Interaction Design, and Cognitive Musicology". Trans-Humanities Journal 4, n.º 1 (2011): 149–62. http://dx.doi.org/10.1353/trh.2011.0006.
Texto completo da fonteTervaniemi, Mari, e Titia L. van Zuijen. "Methodologies of Brain Research in Cognitive Musicology". Journal of New Music Research 28, n.º 3 (1 de setembro de 1999): 200–208. http://dx.doi.org/10.1076/jnmr.28.3.200.3114.
Texto completo da fonteTeses / dissertações sobre o assunto "Musicologie cognitive"
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.
Texto completo da fonteCalandra, Joséphine. "L'algorithmie cognitive et ses applications musicales". Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL148.
Texto completo da fonteThis 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
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.
Texto completo da fonteThis 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
Matzkin, Daniel. "Perception de similarité de mélodies tonales et non tonales : étude pluridisciplinaire". Paris, EHESS, 2001. http://www.theses.fr/2001EHES0125.
Texto completo da fonteDoes 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
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/.
Texto completo da fonteThis 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.
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.
Texto completo da fonteKaastra, 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.
Texto completo da fonteBoenn, 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.
Texto completo da fonteHiller, 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.
Texto completo da fontePh.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
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.
Texto completo da fonteLivros sobre o assunto "Musicologie cognitive"
1958-, Leman Marc, e Joint International Conference on Cognitive and Systematic Musicology (1996 : Brugge, Belgium), eds. Music, gestalt, and computing: Studies in cognitive and systematic musicology. Berlin: Springer, 1997.
Encontre o texto completo da fonteLeman, Marc. Music and schema theory: Cognitive foundations of systematic musicology. Berlin: Springer, 1995.
Encontre o texto completo da fonteEstonia) 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.
Encontre o texto completo da fonteWewers, Julia. Under construction: trans- and interdisciplinary routes in music research: Proceedings of SysMus 11, Cologne 2011. Osnabrück: Electronic Publishing, 2012.
Encontre o texto completo da fonteHofstadter, Douglas R. Metamagical themas: Questing for the essence of mind and pattern. London: Viking, 1985.
Encontre o texto completo da fonteHofstadter, Douglas R. Metamagical themas: questing for the essence of mind and pattern. Harmondsworth: Penguin, 1985.
Encontre o texto completo da fonteHofstadter, Douglas R. Metamagical Themas: Questing for the Essence of Mind and Pattern. New York: Basic Books, 1985.
Encontre o texto completo da fonteHofstadter, Douglas R. Metamagical themas: Questing for the essence of mind and pattern. London: Penguin, 1993.
Encontre o texto completo da fonteHofstadter, Douglas R. Metamagical themas: Questing for the essence of mind and pattern. London: Penguin, 1986.
Encontre o texto completo da fonte(Assistant), A. Camurri, J. Louhivuori (Assistant), R. Parncutt (Assistant), A. Schneider (Assistant) e Marc Leman (Editor), eds. Music, Gestalt, and Computing: Studies in Cognitive and Systematic Musicology (Lecture Notes in Computer Science). Springer, 1997.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Musicologie cognitive"
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.
Texto completo da fonteLouhivuori, 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.
Texto completo da fonteGodøy, 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.
Texto completo da fonteLeman, 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.
Texto completo da fonteNorris, 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.
Texto completo da fonteLesaffre, 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.
Texto completo da fonteLeman, 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.
Texto completo da fonteCambouropoulos, 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.
Texto completo da fonteErdem, 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.
Texto completo da fonteHaugen, 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.
Texto completo da fonteTrabalhos de conferências sobre o assunto "Musicologie cognitive"
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.
Texto completo da fonte