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Temporal Transformations in Cross-Cultural Perspective: Augmentation in Baroque, Carnatic and Balinese Music
No full textTo advance any cross-cultural musicology we could do worse than to refine our perspectives on temporality. Yet labelling qualities of musical time – as if such qualities were static – locks in counterproductive essentializations, since categories like “linear time” and “nonlinear time” (Jonathan Kramer, The Time of Music, 1988) emerged from obsolete distinctions between the West and “the rest” and are based on misleading analogies to the physical world. Such polarized distinctions now seem insufficient. Indeed, any sense of stability in a temporal category is illusory, since even in musics of strict repetition, time and its perceivers are always moving. Thus it may be more productive to typologize temporal transformations as a way to focus on unfolding process. This article begins to address the question of how many ways musical time can transform. I develop a first approximation of a lower-level typology of transformation types. Refining the typology means integrating various cultural and structural features. Choosing the culturally and structurally weighted process of temporal augmentation as a case study, I focus on analysis and comparison of examples from Europe, India and Indonesia
Zur 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
Interdisciplinarity and Metaphors: Historical Reflections on Music Theory and the Psychology of Music
No full textMusic theory and the psychology of music have maintained a close relationship, especially since the 1980s. Yet, the liaison between these two fields can be further traced back to the late 19th century, the formative period of both modern musicology and psychology. This article deals with those interdisciplinary works of the late 19th and early 20th centuries, which we may refer to as early music psychology marked by the writings of Hermann von Helmholtz, Carl Stumpf, Hugo Riemann and Ernst Kurth. Instead of tracing the historical origins of current studies, however, this article attempts to contextualize the discourse of early music psychology and identify how these theories were constructed. The linguistic and metaphorical formations that appear frequently in early music psychological writings are examined – in particular the metaphors related to the notion of musical force, most of which were imported from the contemporary sciences such as physics and physiology. An examination of the “source domains” of metaphors such as »life-force«, »living force« and a group of terms related to physical forces reveals different conceptions of the ways in which the boundaries between the natural and mental sciences may be crossed and of different notions of listening to music. To borrow Morris Berman’s expressions, we may observe here a shift from “disenchanted” to “re-enchanted” music psychology. It is often said that the subject matter of psychology (i. e., the human mind) is constructed by practising psychologists themselves, and that changes in psychological language signify psychological change in their own right. The same holds true for the psychology of music. How do we conceptualize music? How does this conception shape the field of music psychology? By evoking such questions, historical and critical reflections on early music psychology may serve to rethink present-day interdisciplinary works between music theory and music psychology
Relationality, Affect and the Wound of Race: A Conversation on an Artistic Intervention into Global Colonial Whiteness
No full textKonsonanzempfinden 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
Mobilität im Quartier Rechts der Wertach: Beteiligungsdokumentation im Rahmen des Augsburger Mobilitätsplans
No full textDie vorliegende Beteiligungsdokumentation wurde im Rahmen des Augsburger Mobilitätsplans erstellt und fasst die Erkenntnisse aus allen Beteiligungsformaten zusammen, die im Pilotquartier Rechts der Wertach im Jahr 2025 durchgeführt wurden. Ziel des Berichts ist es, die vielfältigen Mobilitätsperspektiven der Menschen im Quartier sichtbar zu machen und einen Beitrag zur Entwicklung einer sozial gerechten, alltagsorientierten und partizipativen Mobilitätsplanung in Augsburg zu leisten.
Die Dokumentation beruht auf qualitativen Beteiligungsformaten, die zwischen Frühjahr und Herbst 2025 durchgeführt wurden. Dazu zählen mehrere Community-Mapping-Veranstaltungen, bei denen Anwohnende, Kinder, Jugendliche, Pendelnde und Menschen mit besonderen Mobilitätsbedarfen ihre alltäglichen Wege, Erfahrungen und Wahrnehmungen des öffentlichen Raums teilten. Ergänzt wurden diese Formate durch Interviews, Spaziergänge, Wegezeichnungen und Beobachtungen im Quartier.
Der Bericht verfolgt zwei Ziele: Zum einen dokumentiert er die Vielfalt der Beteiligung – die Themen, Stimmen und Erfahrungen, die während der Veranstaltungen gesammelt wurden. Zum anderen dient er als Analyseinstrument, um die sozialen, räumlichen und infrastrukturellen Rahmenbedingungen der Mobilität im Quartier besser zu verstehen. Die Auswertung folgt dabei dem Grundgedanken, Mobilität nicht nur als Bewegung, sondern als soziales und potenzielles Phänomen zu begreifen – also als Ausdruck von Teilhabe, Erreichbarkeit und Lebensqualität. Die Ergebnisse sind Grundlage für die weitere Bearbeitung des Augsburger Mobilitätsplans und zeigen exemplarisch, wie lokale Mobilitätsplanung und Bürgerbeteiligung produktiv miteinander verknüpft werden können. Sie spiegeln nicht nur die Mobilität im Quartier, sondern auch das gelebte Alltagswissen der Menschen wider, das für eine zukunftsfähige Mobilitätsentwicklung unverzichtbar ist
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
Dimerization and Crowding in the Binding of Interleukin 8 to Dendritic Glycosaminoglycans as Artificial Proteoglycans
No full textThe interactions of glycosaminoglycans (GAG) with proteins of the extracellular matrix govern and regulate complex physiological functions including cellular growth, immune response, and inflammation. Repetitive presentation of GAG binding motifs, as found in native proteoglycans, might enhance GAG-protein binding through multivalent interactions. Here, we report the chemical synthesis of dendritic GAG oligomers constructed of nonasulfated hyaluronan tetrasaccharides for investigating the binding of the protein chemokine interleukin 8 (IL-8) to artificial, well-defined proteoglycan architectures. Binding of mutant monomeric and native dimerizable IL-8 was investigated by NMR spectroscopy and isothermal titration calorimetry. Dendritic oligomerization of GAG increased the binding affinity of both monomeric and dimeric IL-8. Monomeric IL-8 bound to monomeric and dimeric GAG with KD values of 7.3 and 0.108 μM, respectively. The effect was less pronounced for dimerizable wild-type IL-8, for which GAG dimerization improved the affinity from 34 to 5 nM. Binding of dimeric IL-8 to oligomeric GAG was limited by steric crowding effects, strongly reducing the affinity of subsequent binding events. In conclusion, the strongest effect of GAG oligomerization was the amplified binding of IL-8 monomers, which might concentrate monomeric protein in the extracellular matrix and thus promote protein dimerization under physiological conditions
