1,721,028 research outputs found
A Response to Andrea R. Halpern's Commentary
Get PDFThe author responds to points raised in Andrea Halpern’s commentary, which appeared in Vol. 2, No. 1 of Empirical Musicology Review. Discussion focuses on the apparent contradiction between self-reports of veridical mental imagery of musical timbre, and cognitive constraints on temporal memory for multidimensional sound
Ensemble interaction in indeterminate music:A case study of Christian Wolff’s <i>Exercises</i>
No full textExamining ensemble interaction in the music of experimental composer Christian Wolff, this chapter uses as a case study a professional recording session undertaken by the ensemble Apartment House of <em>Exercises</em> (1973–2013), a series of pieces for (mostly) unspecified instrumentation and numbers of players. Wolff’s skeletal notation is deliberately under-determined, acting like something of a puzzle to be solved. Consequently, the players must negotiate a way of working with the notation and with each other, making decisions prior to, and during, the moment of performance. Drawing on interviews and observational studies, the chapter identifies three different forms of interaction in the musicians’ playing as they engaged with Wolff’s notation: working responsively, independently, and emergently. The chapter offers a view of ensemble interaction that is characterized by cooperation, but also uncertainty, surprise, or even complete breakdown
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Studying musical imagery: Context and intentionality
No full textThe phenomenon of a conscious 'inner hearing' of music, when this music is not actually present, is known as musi- cal imagery. Of interest to music cognition are when, where, why, what and how particular music is imaged. Given the methodological difficulties of imagery research, these questions have only just begun to be addressed. The research to date has begun to suggest fruitful areas to ex- plore and useful methods to achieve this. This paper re- views converging evidence of musical imagery experience from a sampling study, interviews, and laboratory experi- ments. Relevant findings from a study that sampled the everyday occurrence of having a 'tune on the brain' are presented (Bailes, in press) as an introduction to some of the prob- able factors linked to the occurrence of an involuntary mu- sical image. Analyses highlight the influence of recent ex- posure to particular music on what is subsequently imaged. Following this, an experimental study is described which measured the point of recognition (POR) of 120 melodies by 32 participants, with the goal of predicting POR as a function of different subjective measures of familiarity with the stimuli, and melodic distinctiveness. Results point to the complementary roles of perceptual exposure and memory when participants intentionally generate a mental image of music. Although musical imagery is an intangible phe- nomenon, this paper argues that by examining converging evidence it is possible to discern commonalities worthy of further study. This overview also underlines the changing nature of imagery experience dependent on the contextual factors of the intention to image music and musical task
NoiseSpeech in Gesture ghost ground image immaterial performance interactive impressions interaction intuition it languor line lying and syncope noisespeech open work ordinary/extraordinary
No full textNOISESPEECH a performance and compositional concept developed by the first author (Dean 2005), refers to a range of sounds close to the maximal complexity of noise but which seem to be derived from speech though lacking any detectable words or phonemes. NoiseSpeech can be made by digital manipulation of speech sounds, such that the words and phonemes are no longer intelligible, or by superimposing the formant structure (spectral content) or prosodic pitch and dynamic features of speech onto other sounds, both noise, and environmental and instrumental sound. Such manipulations of speech have a long tradition in the work of composers such as Charles Dodge and Paul Lansky, but their application within the field of noise music is recent
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Ensemble participation in late adulthood
No full textThis chapter will highlight the benefits and challenges of ensemble participation in late adulthood, focusing on a case study which considers the continued involvement of aging adult participants in a community orchestra. This was part of a broader study (MacRitchie & Garrido, 2019), but in this chapter, we focus on a subset of players in the orchestra who were aged 50 and over. Here, we investigate the perceived mental, emotional, and social benefits, as
well as the challenges, of continued participation
- …
