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Plante Johann Sebastian Bach seine letzte Fuge aus seiner "Kunst der Fuge" BWV 1080 als Quadrupelfuge?
No full textThe main theme of the Art of Fugue by Johann Sebastian Bach may be based on motifs from Dietrich Buxtehude’s organ work “Mit Fried und Freud I drive back there” (Mit Fried und Freud fahr ich dahin). This main theme is used as the first theme in the final fugue of the Art of Fugue, the Fuga a tre soggetti, in a 'concentrated version', and in the process of production of the triple thematic complex of this fragment Bach probably had the combination of B-A-C-H (third theme) with the head theme this fugue priority; only then was the second topic added. The thematic quadruple complex claimed by Martin Gustav Nottebohm in 1881 with the basic theme of the Art of the Fugue and the real first theme of the Fuga a tre soggetti is aesthetically wrong and, as a fourfold counterpoint, technically wrong. Completing a fragment in Bach’s style is nonsensical, but an artistic reflexion on this fragment using modern compositional stylistic devices is possible, as it is done, for example, in Fantasia Contrappuntistica for two pianos by Ferruccio Busoni and ad fugam for solo clarinet and chamber orchestra by Walter Steffens
Tapping to drumbeats in an online experiment changes our perception of time and expressiveness
No full textBodily movements along with music, such as tapping, are not only very frequent, but may also have a profound impact on our perception of time and emotions. The current study adopted an online tapping paradigm to investigate participants’ time experiences and expressiveness judgements when they tapped and did not tap to a series of drumming performances that varied in tempo and rhythmic complexity. Participants were asked to judge durations, passage of time (PoT), and the expressiveness of the performances in two conditions: (1) Observing only, (2) Observing and tapping regularly to the perceived beats. Results show that tapping trials passed subjectively faster and were partially (in slow- and medium-tempo conditions) perceived shorter compared to the observing-only trials. Increases in musical tempo (in tapping trials) and in complexity led to faster PoT, potentially due to distracted attentional resources for the timing task. Participants’ musical training modulated the effects of complexity on the judgments of expressiveness. In addition, increases in tapping speed led to duration overestimation among the less musically trained participants. Taken together, tapping to music may have altered the internal clock speed, affecting the temporal units accumulated in the pacemaker-counter model
Changes in Psychological Time When Attending to Different Temporal Structures in Music
No full textMusic is an ephemeral form of art that works simultaneously on different structural levels, and may alter one’s experiences of time. This chapter reviews research on the perception of small- to large-scale temporal intervals in music, as well as thresholds for perception, working memory, and sensorimotor synchronization. Recent experiments with music ranging from 10-40 seconds in duration have found evidence for time dilations when synchronizing with different metrical levels of the same music. These changes in time perception can further be shaped by musical complexity or event density, by the listeners’ familiarity with the music, and their physiological arousal. It is argued that music does not only facilitate the flexible coordination of joint activities such as dance, it may even have evolved and serve as a mechanism for altering the subjective passage of time, and for understanding the nature of time itself
