Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden (SLUB): Qucosa
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Auswertung der Befragung von Schülern an Förder- und Oberschulen des Landkreises Görlitz zur Berufsorientierung, Berufswahl und beruflichen Zukunft
No full textZur Suche nach Logik und Bedeutung von Musik: Geschichte und Gegenwart von Interdisziplinarität im Bereich musiktheoretischer Forschung
No full textThis essay reviews the impact of (music) psychology on music theory from the late 19th century until the present. From the beginning, music psychology’s focus on musical listening has been the main reason for this impact. The changes in Hugo Riemann’s theory from physical explanations (especially for major-minor-polarity), derived, amongst others, from Hermann von Helmholtz’ research, to a phenomenological model has been deeply influenced by the “Tonpsychologie” of Carl Stumpf who, in turn, can be termed one of the founders of gestalt theory. For Riemann, the idea that “facts of consciousness” had priority over physical conditions gained paramount importance. In particular, it seemed to explain the impression of consonance as release and dissonance as striving force more feasibly than ratios of oscillation speeds. Ernst Kurth took up this idea. His work relies on the gestalt experience, more specifically on the experience of energetic force, another foundation derived from Arthur Schopenhauer’s philosophy. Kurth’s music theory introduced a novel spatial, dynamic principle of form. Although Robert Hatten’s idea of an “energetic shaping through time” and his theory of gestures reference Kurth’s ideas, the linguistic roots of his “topic”-oriented concept betray substantial differences to Kurth’s process-based idea of musical form. Fred Lerdahl’s and Ray Jackendoff’s Generative Theory of Tonal Music connects to gestalt theoretical principles, linked, however, as only in early gestalt theory, to the idea of perceptual universals, presupposing that gestalt formations (e. g., the grouping of durations) are processed “automatically”. More recent gestalt theory has replaced this universalist idea by a stronger focus on learning. Subsequent theories of musical cognition retain the gestalt term as a prominent model. The focus of research, however, is usually not derived from questions about the cognition of musical structure alone, but guided by the intention to formalize cognition models with the help of computer programming languages, often without properly reflecting the modes of thinking and listening that such models presuppose
Konsonanzempfinden und Periodizitätsanalyse im auditorischen System
No full textSince ancient times, regular pulses of the air beating against the ear have been regarded as the cause of pitch. Until the time of Leonhard Euler, theorists plotted point sequences to represent these regular pulses of the air. Two parallel point sequences symbolized an interval. The number of coinciding points of both point sequences determined the degree of consonance or dissonance. This so called “coincidence theory of consonance” lost its importance with the rise of modern science. Georg Simon Ohm introduced Jean Baptiste Joseph Fourier’s theorem to acoustics which allowed precise spectral analysis and calculation of any vibration. A tone was no longer described by a sequence of points symbolizing pulses of the air but by sine or cosine functions and their sums. Spectral analysis led to considerations in the frequency-domain. Combining it with the phenomenon of roughness, Hermann von Helmholtz developed a consonance theory based on the disturbance of harmony by roughness. Today, his idea forms the basis of the concept of sensory consonance. In contrast to computations in the frequency domain, however, sound is neuronally processed in the time domain. A single tone, for example, is neuronally represented by a periodic pulse train. Musical intervals produce firing patterns in the auditory nerve with regularities depending on the vibration ratio of the fundamental pitches. A mathematical model can be described that makes it possible to define a value to calculate the degree of these regularities for each vibration ratio. It turns out that this value, called Generalized coincidence function (Allgemeine Koinzidenzfunktion) is quite similar to the degree of tonal fusion as described by Carl Stumpf. This finding makes it probable that tonal fusion is a consequence of certain properties of the neuronal periodicity detection mechanism. Together with the roughness of intervals, this neuronal mechanism may be regarded as the basis of consonance and dissonance
Eine Untersuchung zum »Bach-Choral«
No full textThe subject of the present study are the mostly four-part chorales from original works of Johann Sebastian Bach, along with partially corresponding movements found in the collections of Carl Philipp Emanuel Bach, Johann Ludwig Dietel, Christian Friedrich Penzel, Georg Christian Schemelli and others. Using software developed particularly for this purpose, a total of 896 scores were digitized and analyzed according to different criteria. Using the computer allowed the extensive material to be explored in a much shorter time. Of course this method also has some disadvantages. Computers are generally unable to “understand” musical structure in an advanced manner, let alone their extra-musical implications. Therefore, a consistent “division of labour” between the machine and the user was incorporated from the beginning: The task of the computer consisted mainly of searching for predefined structures in the musical notation, while all perceptual, cognitional or hermeneutical activities fell into the domain of the user. (However, musical notation itself contains – in contrast to the acoustical substrate – “interpretative” components to a certain extent.) During the data acquisition, a number of misprints in the complete edition (Neue Bach-Ausgabe) were detected and – after an inspection of the available sources – eliminated. A list of these misprints is contained in the appendix of the contribution. The results of the style analyses (some of them are already introduced in this article) will be presented in a series of forthcoming publications
Sie sind uns nicht egal: Begleitung im Straffall
No full textStrafe allein bessert nicht – es muss etwas Positives dazukommen:
Die Chance zu einem Neuanfang, in der Gesellschaft
wieder Fuß fassen zu können – mit Wohnung, Arbeit
und Begleitung. Dass das gelingt, zeigen Besuchsdienste
und Kontakte in Briefen und Begleitung. Dazu gehören auch
Unterstützungen nach der Haftzeit – die diakonische Straffälligenhilfe
in Sachsen ist im Sinne Jesu unterwegs und besucht
Gefangene. Sie nimmt sehr wohl Schuld wahr, aber schenkt
zugleich Hoffnung. Viele Ehrenamtliche bringen sich ein und
zeigen so einen bunten Strauß von Hilfemöglichkeiten auf.
Dieser Arbeit soll die Kollekte des diesjährigen Sonntags der
Diakonie zufließen
Fuchskaninchen
No full textDas Fuchskaninchen gehört in der Einteilung des Zentralverbandes Deutscher Rasse-Kaninchenzüchter in die Abteilung der Langhaarrassen. Es wurde durch Einkreuzungen von einfarbigen Normalhaarrassen in Angorakaninchen nach dem 1. Weltkrieg in Deutschland und der Schweiz unabhängig voneinander herauszüchtet. Der Flyer informiert über Zuchtgeschichte, Kennzeichen, Haltung und Bestandsentwicklung dieser gefährdeten einheimischen Kaninchenrasse. Ziel ist es, mehr Züchter für deren Erhalt zu gewinnen. Dazu sind Ansprechpartner mit Kontaktdaten aufgelistet.
Redaktionsschluss: 25.09.202
Die Sächsische Gartenakademie: Informations- und Weiterbildungsangebot 2022
No full textDie Gartenakademie des Sächsischen Landesamtes für Umwelt, Landwirtschaft und Geologie wendet sich mit einem vielfältigen Weiterbildungsangebot an alle Freizeitgärtnerinnen und Freizeitgärtner. Der Flyer bietet einen Überblick über das gesamte Angebot der Gartenakademie im Jahr 2022.
Redaktionsschluss: 26.11.202
Musical Probability and the Music of Claude Debussy: Expectancy and Information in (…Bruyères) and the String Quartet
No full textThis article explores the relationship between musical expectancy and information through the use of both hidden Markov models, Bayesian probability and their application to Claude Debussy’s Prélude (…Bruyères) and his string quartet. (…Bruyères), which is one of the most conservative of the Préludes, is an interesting example of the composer’s use of “vagrant” sonorities which persist despite a perceived tonal hierarchy. An analysis of the varying levels of information, determined by the levels of expectancy which arise throughout the composition, illustrates an aspect of analysis which has not yet been applied to Debussy’s music. A study of musical information will inevitably lead to the study of probabilty, as a greater degree of information is expressed by events which could be considered to be less probable. Much of the research that has been done thus far in musical probability has used as a priori a collection of stylistic precepts, which are referred to as likely events. This article, however, attempts to determine probabilistic events based on “intra-opus” events by using David Temperley’s Bayesian approach to determine likely events within a composition. These are classified as events within a hidden Markov model, which examines the interrelationships of variables, some of which are perceived and some which are simply implied. A statistical “extra-opus” methodology is employed and compared to the Bayesian style. In the seond part of the article, melodic probability in a polyphonic context is discussed by examining the several sections from Debussy’s string quartet. The probabalistic fluctuations between voices in the quartet are then compared to the single melody of (…Bruyères)
Analyzing Michael Finnissy’s Second String Quartet: A Multimedia Interactive Approach
No full textThe aim of this collaborative research is to show the potential for developing interactive strategies for music analysis. This article demonstrates how the wide range of multimedia outputs of Bayley’s research into the processes of composition, rehearsal and performance of Michael Finnissy’s Second String Quartet (2006/2007) can be accommodated by extending Clarke’s “interactive aural” approach, using Cycling 74’s Max/MSP software. The overall objective is to provide a model that can be widely used for research into the creative processes that can subsequently inform music analysis. Traditionally, analysis of Western Classical music has made reference primarily, if not exclusively, to the score, and is presented as a linear written text, illustrated by music examples and charts. The approach developed here directs the activity of music analysis away from a fixed, static text and towards an interactive, multimedia experience evolving from creative and interpretative processes which shape the aural, transient and dynamic qualities of the music. Through the integration of materials resulting from ethnographic study, the software assists the analysis of composer-performer relationships which are particularly under-researched in musicology