Drucken
0 Artikel: 
 | Wewers, Julia / Seifert, Uwe (Eds.)Under Construction: Trans- and Interdisciplinary Routes in Music ResearchProceedings of SysMus 11, Cologne 2011epOs-Music, 269 Seiten, zahlreiche Abbildungen, Graphiken und Notenbeispiele | |
|
| + Inhaltsverzeichnis |
| - Abstract |
| Under Construction: Trans- und interdisziplinäre Wege der Musikforschung. Vorträge der SysMus11 2011 in Köln. Die Musikwissenschaft steht vor transdisziplinären Herausforderungen: Durch das wachsende Interesse der Linguistik, Philosophie, Kognitiven Neurowissenschaften, Psychologie, Informatik, Medienwissenschaften, biologischen Anthropologie und anderer Disziplinen an der Musikforschung im 21. Jahrhundert werden neue Konzepte, Fragestellungen, Methoden und Technologien der Untersuchung von Musik an sie herangetragen. Darüber hinaus stellt die zunehmende Aufsplittung der Musikwissenschaft in auseinander driftende Teildisziplinen eine “intradisziplinäre” Herausforderung dar, die die Einheit des Forschungsfeldes gefährden. SysMus11, eine Konferenz junger Wissenschaftler, setzt sich zum Ziel, die Scheuklappen abzulegen und metaphysische Vorurteile über Musik zu überwinden, indem Aspekte wie die Sprach- und Musikevolution, Bewegungskognition, die Geschichte der Musik als Medium und andere zukünftige methodologische Ansprüche durch zentrale Vorträge eingebunden werden. Dieses Buch stellt die Ergebnisse der SysMus11 vor, um einen intradisziplinären wie auch transdisziplinären Diskurs für die Musikforschung zu eröffnen. ------------------- Akiva-Kabiri/Gertner/Henik: Space is Alive with the Sound of Music: The Case of Musical Tone-Space Synaesthesia Synesthesia is a rare phenomenon where stimulation in one sensorial modality triggers an additional and atypical sensation in a second unstimulated modality. In pitch-space synesthesia, auditory tones are experienced in a spatially-defined array. Previously it was shown that symbolic inducers (i.e., numbers, months) may trigger shifts of attention according to the inducer's relative position on the synaesthetic spatial form. In the current study we tested SA — a pitch-space synaesthete — and a group of matched controls on a spatial cue detection task. Participants were presented with an auditory high or low pitch tone (cue) followed by an asterisk (target) that could appear in one of two boxes that were aligned diagonally (experimental task) or vertically (control task). Cue-target validity was manipulated according to the synaesthete’s diagonal spatial tone-form. The participant's task was to ignore the tone and press a key as soon as a target was detected. A validity effect was observed for the synaesthete but not for controls in the diagonal alignmenttask. However, no such effect was observed in the vertical alignment task. Our results reveal that the SA could not ignore the tone since it involuntarily oriented her attention according to her spatial pitch-form. The present study demonstrates the existence of spatial-form synesthesia also in the musical domain. - - - - - Asano: Concepts for the Comparative Research on Language and Music Language and Music are very similar but different cognitive systems delineated insufficiently. In order to carry out comparative research on Language and Music, they have to be studied from a coherent perspective, i.e. a research program for the comparative research on Language and Music is needed. Based on the Minimalist Program in generative linguistics, a model of Language and Music that serves such a purpose is proposed in this paper. The model is based on Merge and interfaces. Merge, the minimal condition for discrete infinity, is a recursive combinatorial operation that generates hierarchical expressions. Interfaces give some domain specific constraints on Merge. That is, investigating Merge and interfaces is the key to a comparative inquiry of Language and Music. Moreover, a way to combine theoretical and empirical considerations to develop an adequate model for the comparative study of Language and Music is suggested. - - - - - Boasson: Melodic Direction's Effect on Tapping In a tapping study, human response to pitch change was probed using the tapping methodology. Subjects, musicians and non-musicians, were asked to tap, as steadily as possible, to a given isochronous tone undergoing pitch changes: rise, fall, peaks (∧), valleys (v), step-size change, and pitch re-stabilization. Two melodic step-sizes – single/double – were used in a non-western scale (Bohlen-Pierce). Inter-Tap Inter-vals (ITIs) were measured and checked for correlations to melodic direction and step-size. Three contradicting predictions regarding response to melodic direction and step-size were proposed: a) based on musicians’ tendency to ›rush‹ on ascending melodic lines, the »High-Urgent« hypothesis predicted shortened ITIs in response to rising pitches; b) based on approach/withdrawal theories of perception and on ethological research showing lower pitches interpreted as more threatening, the »Flexor/Extensor« hypothesis predicted shorter ITIs in response to falling pitches, due to stronger activation of the flexing muscles used in tapping; c) based on previous research on temporal judgment, the »Δ« hypothesis predicted one effect in both melodic directions, correlating in extent to change (= melodic step) size. Different asynchronies were elicited involuntarily according to the stimuli’s melodic direction. A first pitch change elicited shorter ITIs, the shortest of which was to upward change in double-steps. A main effect was shown to melodic direction. Further, taps to rising lines continued their increased negative asynchrony through six taps after first change, as if in a phase shift. An overall tendency for delays following peaks and vice versa on valleys was found from Tap 2; however, peaks and valleys in middle position, which were freer of confounds, both yielded delays. Slowing the melodic line from double to single steps elicited longer ITIs in musicians. Pitch re-stabilization elicited delays, with no main effects, however to melodic direction or step-size. The Urgent-High hypothesis gained support the most, but does not account, for example, for the delays on both peaks and valleys in middle position. - - - - - Bourne: Cognitive Conditions for the Perception of Irony in Music: A View from Late Beethoven This paper establishes cognitive conditions for the perception of irony in music by appropriating concepts from psycholinguistics. In natural language, the perception of verbal irony is considered to require two conditions: violating expectations and flouting the Gricean maxims. Situational irony is also based on two perceptual conditions: unexpectedness and the evocation of human frailty. As a temporal succession of events advanced by the intentional »voice« of the composer, this paper argues that music may be considered a combination of both verbal-like and situational forms of irony. Specifically, the following conditions, extracted from both instances of irony, may form the basis for a theoretical framework that explores the perception of ironic communication in music: 1) violation of expectations and 2) flouting of the Gricean maxims. Because expectation is significantly shaped by past experience, cultural context, or the »common ground« between composer and listener, it forms a necessary part of the theoretical framework for conceptualizing musical irony. Four late Beethoven string quartet movements from Op. 95, Op. 131, Op. 130, and Op. 135, serve as analytic case studies that demonstrate the application of the methodology outlined above. The case studies provide representative examples of the perceptual conditions as well as of the »common ground« conditions necessary for the communication and perception of musical irony. - - - - - Campesato: The Paradoxical Role of Noise in Music This article focuses on the passage from noise – as disruptive and strange element – to sound when it is incorporated into music. This process is directed to an understanding of how noise has become a destabilizing element during the twentieth century, establishing a dialectic tension between rejection and acceptance as a musical element. From this point we raise two issues: the empirical aspect of noise in relation to the abstraction of what is communicated; and process of »silencing« noise as it is incorporated into music. This process is analyzed from two seemingly opposing concepts: noise repression, in which noise is taken as something to be avoided; and noise sublimation, or the worship of noise. Eventually, we will analyze examples of relatively recent repertoire of works in which this matter plays an important role: John Oswald's Pluderphonics, Christian Marclay's conceptualism, and the sound radicalism of the noise movement. - - - - - Foltyn: Neuroscientific Consonance Measure and its Application into Musical Analysis The following paper presents a neuroscientific approach to measuring consonance / dissonance, followed by examples of using it in actual musical analysis. The author’s model is rooted in latest neurophysiologic research and links consonance with degree of concentration of neural excitation in inferior colliculus, a key part of higher auditory pathway in brainstem. Further, a measure of local harmonic tension is proposed, in vertical and horizontal form. The flow of consonance / dissonance is then observed in Mozart’s Piano Sonata KV 570, giving interesting insights on the role and nature of harmony in sonata form. - - - - - Giffhorn: Beyond Unreasonable Doubt – Composers, Conductors, and Traitor A performance, which is led by the composer himself, is often thought to be the best possible performance since the composer must be fully aware of all possible aspects of his work. The case of Igor Stravinsky conducting his own works reveals the true complexity of the situation. We are going to analyze different modes of interpretation (author intentionalism, utterer’s meaning vs. utterance meaning, real vs. implied author). The reasons for the believe in the authority of the composer turn out to be traditional (the composer understood as mystical figure) as well as due to a musicology that cannot accept the relativity of the composer and the musical text. - - - - - Küssner: Creating Shapes: Musicians' and Non-musicians' Visual Representations of Sound Visualising sound and music can give rise to valuable insights into music cognition. In this experiment, musicians and non-musicians were presented with pure tones, systematically varied in pitch, loudness and tempo, as well as two short musical excerpts. Visual responses were captured using an electronic graphics tablet, and continuously acquired data of the position and pressure applied to the pen were checked for correlation with characteristics of the sound stimuli. Based on participants’ verbal reports it was revealed that pitch was represented with height on the tablet, and loudness with the thickness of the line. Although both musicians and non-musicians rated themselves as fairly highly consistent in applying these strategies, and did not find the tasks too difficult, correlation analysis revealed that musicians were more accurate than non-musicians. Results are discussed in terms of perceptual and motor skills in musicians. - - - - - Li/Wang: Progression and the Law of Prägnanz in the First Tableau of Stravinsky’s Petrushka Works of Igor Stravinsky are often considered as featuring stasis, fragmentation and disintegration, especially those from his Russian period. Discontinuity in Stravinsky has been regarded as one of the major characteristics of musical modernism. With the case of Petrushka, Jonathan Cross insists on its lack of continuity while acknowledging its ›coherence‹ based on Richard Taruskin’s finding of ›progression‹ from C through D, E to F# in the second tableau. It is as yet still unclear how the work progresses in certain parts such as the first tableau. With an analysis of the first tableau of Petrushka, this paper proposes that a sense of continuity and progression is to be discovered in the metric and rhythmic cellular groupings, rather than in pitch organization. Stravinsky creates a special sense of continuity, achieved not through unified textures or pitch / tonal progression, but through manipulation of cellular groupings in relation to degrees of order. Tension and release may then be explained based on the Law of Prägnanz in Gestalt psychology, through various degrees of order resulted from cellular process. - - - - - Melvin: Pleasure and Reward Dissociations and Correlations in Music Processing: An Exploratory Study Neurobiological research suggests that reward-related incentive salience ›wanting‹, and hedonic pleasure or ›liking‹ are mediated by different neural pathways. Psychological research has also found behavioral dissociations between ›wanting‹ and ›liking‹ for stimuli such as food or faces. The aim of the current study was to investigate whether this may be the case for cultural objects such as music. Participants were assigned to two groups, musicians and non-musicians, and completed a computer key-press task (to measure incentive salience or wanting), and a subsequent ratings task (to measure hedonic impact). No differences related to the grouping or gender could be found. Moreover no reward dissociations were identified. Neuroimaging studies have shown that listening to music stimuli can induce neural reward dissociations. This behavioral study was unable to reproduce any supporting data to these findings. Future iterations of the paradigm may prove more sensitive to possible correlations and dissociations in music listening. - - - - - Neumeier/Willeke: Improvised Teaching – Teaching Improvisation. The Phenomenon of ›Instant Composing‹ as a Social Musical Form between Inspiration, Experience and Expression In this paper, the phenomenon auf ›instant composing‹, defined as creating music out of the moment, should be researched as a teaching method. Main questions are related to the pedagogical input and the implicite factors which have influence on a group and concerning the ›musical output‹ of musicians. - - - - - Pathmanesan: Thavil Master of V.Thadchināmurthy: An Ethnomusicological Analysis of the Contribution of a Tamil Musician This study enables us to examine the music culture of an exceptional artist. This study purposively selected an individual musician namely Yāzhppānam V. Thadchināmūrthy to study his excellent contribution to the development of Periya Mēlam music which earned him a reputation as master of thavil instrumental music that made a significant benchmark in the Indian and Sri Lankan Periya Mēlam music culture. This study examines how this charismatic character became an extraordinary figure of music which needed to be explored anthropologically and ethnomusicologically. Although post-modernists have forcefully emphasized on multi-dimensional aspects in the study of music, the way they stress the possibility of different talented musicians deserve scrutiny. - - - - - Porres: A Dissonance Model for Live Electronics This is an outline of a PhD research that aims to the development of computational tools for interaction in real time (live electronics: composition, performance or improvisation) based on a Dissonance Model. The theoretical focus is on a perceptual and scientific approach of music theory – the perception and modeling of musical dissonance. But the main goal is the creative application of this theory in real time computer systems. The work is then interdisciplinary, for it involves music theory, music psychology, computer music and compositional processes. - - - - - Tsamalikos/Zacharakis: Theory and Practice of Intonation on the Eastern Mediterranean One basic common element between the different musical traditions of the Eastern Mediterranean is the particular use of the tonal modality. Despite the intercultural, local or temporal differentiations, it is easy to identify common patterns concerning the various intonation systems, which theoretically derive from the Pythagorean calculations. On the other hand, there are major differences in the ways Byzantine, Arab, Turkish, and modern Greek practices deal with the modal organization of the tonal material. The – now present in local variations – term maqam is not completely distinguished from the Byzantine ēchos. It contains, however, not only information about the intervals, but also the way the composer deals with the tonal material. Two or more maqamat can consist of the same intervals, but still differ in that they focus on different degrees of the scale or present a different melodic line. In this paper we attempt to deal with the way the different intonations are performed by the singing voice and two particular instruments that are common in the modal music of the Eastern Mediterranean, namely the plucked string al‛ūd and the reed ney. We will try to synopsize the various theoretical systems of this region and we will examine the historical spread and development of these instruments in relation to their ability to carry similarities and differences of the corresponding music performance. - - - - - Wolf/Müllensiefen: The Perception of Similarity in Court Cases of Melodic Plagiarism and a Review of Measures of Melodic Similarity This study examines the perception of melodic similarity applied to cases of melodic plagiarism under a review of similarity measures. An implicit memory task was designed to test the extent of the participants’ confusability of two similar melodies. The participants were able to distinguish between such melodies involved in cases with and without actual copyright infringement. Many of the applied measures of similarity relate very well to the results of the implicit memory task and the court case decisions, such as a Tversky feature-based measure (r = 0.514) and a weighted Edit Distance (r = 0.515) for the psychological data and certain Earth mover’s distance measures for the court decisions (AUC of .84). - - - - - Wolff/Weyde: On Culture-dependent Modelling of Music Similarity We present an approach to automatically adapting a computational model for music similarity to users’ cultural contexts, indicated by parameters like location and age. Using user ratings of perceived similarity, we aim to model variations in these ratings associated with culture-based variables of the users. The resulting similarity measure meets its useful application in music information retrieval, particularly personalised music recommendation, but relations of cultural variables and music perception, which are represented in the adapted similarity models, are also of generic musicological interest. This paper outlines the general framework envisaged for this task and first experimental results on the feasibility of learning musical similarity from relative user ratings. - - - - - Zacharakis/Tsamalikos: The Folk Song in the Service of Propaganda The military dictatorship (1967 – 1974) is often regarded as an inevitable consequence of the post-war social and political situation in Greece [3: 266–291]. The modernization and liberalization of the society, which began in the 60's, was violently interrupted by a regime that considered itself representative of the military and the conservative establishment in general. The greek junta promoted ideals and artistic forms that were considered by the Colonels as fundamental components of the Greek society. The folk song as an essential means of expression of the pre-bourgeois society in the provincial area of the eastern Mediterranean became a means for propaganda, highlighting the alleged virtues of the nation and in particular that of the pioneers of the coup. In addition, it symbolized the result to be achieved within the framework of cultural life, namely the establishment of popular culture as the dominant and authentic Greek culture. On the other hand, members of the Resistance also benefited from the tradition of folk song. This literary tradition, interpreted as the voice of the collective resistance, was used by poets and composers as a means to encourage the oppressed people. The active presence of the folk song tradition in this historic period of Greek society was the stimulus for writing this paper. The conflict with the conscious use of a long-standing tradition in a period –which still has a visible negative impact on the aesthetics and the mentality of the society–, provides a field of high interest. We will examine how both sides made use of folk songs, as well as the function that these songs have taken and their semiotics. - - - - - Asano et al.: Report – The International Summer School in Systematic Musicology (ISSSM) From the 8th to the 18th of August 2011, the International Summer School in Systematic Musicology (ISSSM) 2011 took place at the Department of Music of the University of Jyväskylä, Finland. The summer school takes place every year to give students in Systematic Musicology the opportunity to discuss about their thesis and learn about current topics and methods. It consists of lectures, workshops, student experiments, and some social activities. Six European musicological centres are partner institutions of ISSSM: the Universities of Cologne (Germany), Genoa (Italy), Ghent (Belgium), Hamburg (Germany), Jyväskylä (Finland), and Oslo (Norway). At the summer school, professors and assistants from these partner institutions attend as teachers and supervisors. The participants were mainly advanced master students and PhD students in Systematic Musicology, but there were also students from other disciplines doing music research. This kind of transdisciplinarity is an important feature of the ISSSM. At the end of the summer school, a discussion considering the term »systematic musicology« took place, in which the problem of determining »systematic musicology« was picked out as a central theme. The next ISSSM will take place in the Institute of Systematic Musicology in Hamburg (Germany) from the 8th to the 18th of August 2012. This summer school will again be inspiring for young musicologists and students of other fields alike. |
| + Links |
| + Klangbeispiele zum Download |
