The Musically Sublime Infinity, Indeterminacy, Irresolvability
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Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings
Fakult¨at fur¨ Elektrotechnik und Informationstechnik Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings Christof Weiß geboren am 16.07.1986 in Regensburg Dissertation zur Erlangung des akademischen Grades Doktoringenieur (Dr.-Ing.) Angefertigt im: Fachgebiet Elektronische Medientechnik Institut fur¨ Medientechnik Fakult¨at fur¨ Elektrotechnik und Informationstechnik Gutachter: Prof. Dr.-Ing. Dr. rer. nat. h. c. mult. Karlheinz Brandenburg Prof. Dr. rer. nat. Meinard Muller¨ Prof. Dr. phil. Wolfgang Auhagen Tag der Einreichung: 25.11.2016 Tag der wissenschaftlichen Aussprache: 03.04.2017 urn:nbn:de:gbv:ilm1-2017000293 iii Acknowledgements This thesis could not exist without the help of many people. I am very grateful to everybody who supported me during the work on my PhD. First of all, I want to thank Prof. Karlheinz Brandenburg for supervising my thesis but also, for the opportunity to work within a great team and a nice working enviroment at Fraunhofer IDMT in Ilmenau. I also want to mention my colleagues of the Metadata department for having such a friendly atmosphere including motivating scientific discussions, musical activity, and more. In particular, I want to thank all members of the Semantic Music Technologies group for the nice group climate and for helping with many things in research and beyond. Especially|thank you Alex, Ronny, Christian, Uwe, Estefan´ıa, Patrick, Daniel, Ania, Christian, Anna, Sascha, and Jakob for not only having a prolific working time in Ilmenau but also making friends there. Furthermore, I want to thank several students at TU Ilmenau who worked with me on my topic. Special thanks go to Prof. -
The Intermediate World: a Key Concept in Beautiful Thinking
Open Philosophy 2018; 1: 50–58 Dorthe Jørgensen* The Intermediate World: A Key Concept in Beautiful Thinking https://doi.org/10.1515/opphil-2018-0005 Received February 28, 2018; accepted April 25, 2018 Abstract: The term ‘the intermediate world’ is a key concept in Den skønne tænkning (Beautiful Thinking) and the metaphysics of experience presented by this book. The metaphysics of experience is about the experiences of transcendence and beautiful thinking that take place in the intermediate world. In the article “The Intermediate World,” this subject is introduced through a discussion of thoughts and concepts formulated by Paul Klee (Zwischenwelt), Alexander Gottlieb Baumgarten (beautiful thinking), Aristotle (phantasia), Immanuel Kant (expanded thinking), Mark C. Taylor (imagination), and Eugenio Trías (the limit). The text depicts the intermediate world as the level of experience at which the understanding does not yet distinguish between subject and object. The intermediate world is thus not a realm between human and world, nor is it something outside the world we know. The intermediate world is rather the present world in its most original state: the ‘place’ where we find the source of all experience and cognition, a source called ‘basic experience’ characterized by sensation, faith, and comprehension. In this realm, imagination is active and takes the form of an objective force rather than a subjective mental power. Imagination opens mind and world, thus allowing not-yet- actualized possibilities to become perceivable. Keywords: experience, metaphysics, Klee, aesthetics, imagination, Baumgarten, sensitivity, Trías, limit, thinking 1 Introduction The expression ‘beautiful thinking’ derives from §1 in Alexander Gottlieb Baumgarten’s Aesthetica. -
A Teacher's Introduction to Composition in the Rhetorical Tradition
DOCUMENT RESUME ED 373 330 CS 214 452 AUTHOR Winterowd, W. Ross; Blum, Jack TITLE A Teacher's Introduction to Composition in the Rhetorical Tradition. NCTE Teacher's Introduction Series. INSTITUTION National Council of Teachers of English, Urbana, Ill. REPORT NO ISBN-0-8141-5024-1; ISSN-1059-0331 PUB DATE 94 NOTE _42p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 50241-3050: $8.95 members, $11.95 nonmembers). PUB TYPE Books (010) Historical Materials (060) Guides Non- Classroom Use (055) EDRS PRICE MF01/PC06 Plus Postage. DESCRIPTORS Educational History; English Curriculum; English Instruction; Higher Education; *Intellectual History; *Rhetorical Theory; *Writing (Composition); *Writing Instruction IDENTIFIERS *Classical Rhetoric; *Composition Theory; Historical Background; Poststructuralism ABSTRACT Based on the idea that an individual cannot understand literature, philosophy, or rhetoric without knowing the field's historical content, this book traces the evolution of the growing and ever-changing field of composition/rhetoric through numerous schools of thought, including Platonism, Aristoteleanism, New Criticism, and the current poststructuralism. After a discussion of the main themes of classical rhetoric, the book offers a historical analysis of the rhetoric of 18th and 19th centuries, focusing briefly on the works of George Campbell, Hugh Blair, Samuel Taylor Coleridge, and Ralph Waldo Emerson. The book divides the current field of composition/rhetoric into five categories: current-traditio:. 1 rhetoric, romantic rhetoric, neo-classical rhetoric, new rhetoric, and new stylistics. An entire chapter in the book is devoted to the work of I. A. Richards and Kenneth Burke. The final chapter of the book offers an analysis of poststructuralism influence on composition--discussing New Criticism, deconstruction, feminist criticism, and postmodernism. -
Paths from the Philosophy of Art to Everyday Aesthetics
Paths from the Philosophy of Art to Everyday Aesthetics Edited by Oiva Kuisma, Sanna Lehtinen and Harri Mäcklin Paths from the Philosophy of Art to Everyday Aesthetics © 2019 Authors Cover and graphic design Kimmo Nurminen ISBN 978-952-94-1878-7 PATHS FROM THE PHILOSOPHY OF ART TO EVERYDAY AESTHETICS Eds. Oiva Kuisma, Sanna Lehtinen and Harri Mäcklin Published in Helsinki, Finland by the Finnish Society for Aesthetics, 2019 6 Contents 9 Oiva Kuisma, Sanna Lehtinen and Harri Mäcklin Introduction: From Baumgarten to Contemporary Aesthetics 19 Morten Kyndrup Were We Ever Modern? Art, Aesthetics, and the Everyday: Distinctions and Interdependences 41 Lars-Olof Åhlberg Everyday and Otherworldly Objects: Dantoesque Transfiguration 63 Markus Lammenranta How Art Teaches: A Lesson from Goodman 78 María José Alcaraz León Aesthetic Intimacy 101 Knut Ove Eliassen Quality Issues 112 Martta Heikkilä Work and Play – The Built Environments in Terry Gilliam’s Brazil 132 Kalle Puolakka Does Valery Gergiev Have an Everyday? 148 Francisca Pérez-Carreño The Aesthetic Value of the Unnoticed 167 Mateusz Salwa Everyday Green Aesthetics 180 Ossi Naukkarinen Feeling (With) Machines 201 Richard Shusterman Pleasure, Pain, and the Somaesthetics of Illness: A Question for Everyday Aesthetics 215 Epiloque: Jos de Mul These Boots Are Made for Talkin’. Some Reflections on Finnish Mobile Immobility 224 Index of Names 229 List of Contributors 7 OIVA KUISMA, SANNA LEHTINEN & HARRI MÄCKLIN INTRODUCTION: FROM BAUMGARTEN TO CONTEMPORARY AESTHETICS ontemporary philosopher-aestheticians -
Musical Notation Codes Index
Music Notation - www.music-notation.info - Copyright 1997-2019, Gerd Castan Musical notation codes Index xml ascii binary 1. MidiXML 1. PDF used as music notation 1. General information format 2. Apple GarageBand Format 2. MIDI (.band) 2. DARMS 3. QuickScore Elite file format 3. SMDL 3. GUIDO Music Notation (.qsd) Language 4. MPEG4-SMR 4. WAV audio file format (.wav) 4. abc 5. MNML - The Musical Notation 5. MP3 audio file format (.mp3) Markup Language 5. MusiXTeX, MusicTeX, MuTeX... 6. WMA audio file format (.wma) 6. MusicML 6. **kern (.krn) 7. MusicWrite file format (.mwk) 7. MHTML 7. **Hildegard 8. Overture file format (.ove) 8. MML: Music Markup Language 8. **koto 9. ScoreWriter file format (.scw) 9. Theta: Tonal Harmony 9. **bol Exploration and Tutorial Assistent 10. Copyist file format (.CP6 and 10. Musedata format (.md) .CP4) 10. ScoreML 11. LilyPond 11. Rich MIDI Tablature format - 11. JScoreML RMTF 12. Philip's Music Writer (PMW) 12. eXtensible Score Language 12. Creative Music File Format (XScore) 13. TexTab 13. Sibelius Plugin Interface 13. MusiXML: My own format 14. Mup music publication program 14. Finale Plugin Interface 14. MusicXML (.mxl, .xml) 15. NoteEdit 15. Internal format of Finale (.mus) 15. MusiqueXML 16. Liszt: The SharpEye OMR 16. XMF - eXtensible Music 16. GUIDO XML engine output file format Format 17. WEDELMUSIC 17. Drum Tab 17. NIFF 18. ChordML 18. Enigma Transportable Format 18. Internal format of Capella (ETF) (.cap) 19. ChordQL 19. CMN: Common Music 19. SASL: Simple Audio Score 20. NeumesXML Notation Language 21. MEI 20. OMNL: Open Music Notation 20. -
Art. Music. Games. Life. 16 09
ART. MUSIC. GAMES. LIFE. 16 09 03 Editor’s Letter 27 04 Disposed Media Gaming 06 Wishlist 07 BigLime 08 Freeware 09 Sonic Retrospective 10 Alexander Brandon 12 Deus Ex: Invisible War 20 14 Game Reviews Music 16 Kylie Showgirl Tour 18 Kylie Retrospective 20 Varsity Drag 22 Good/Bad: Radio 1 23 Doormat 25 Music Reviews Film & TV 32 27 Dexter 29 Film Reviews Comics 31 Death Of Captain Marvel 32 Blankets 34 Comic Reviews Gallery 36 Andrew Campbell 37 Matthew Plater 38 Laura Copeland 39 Next Issue… Publisher/Production Editor Tim Cheesman Editor Dan Thornton Deputy Editor Ian Moreno-Melgar Art Editor Andrew Campbell Sub Editor/Designer Rachel Wild Contributors Keith Andrew/Dan Gassis/Adam Parker/James Hamilton/Paul Blakeley/Andrew Revell Illustrators James Downing/Laura Copeland Cover Art Matthew Plater [© Disposable Media 2007. // All images and characters are retained by original company holding.] dm6/editor’s letter as some bloke once mumbled. “The times, they are You may have spotted a new name at the bottom of this a-changing” column, as I’ve stepped into the hefty shoes and legacy of former Editor Andrew Revell. But luckily, fans of ‘Rev’ will be happy to know he’s still contributing his prosaic genius, and now he actually gets time to sleep in between issues. If my undeserved promotion wasn’t enough, we’re also happy to announce a new bi-monthly schedule for DM. Natural disasters and Acts of God not withstanding. And if that isn’t enough to rock you to the very foundations of your soul, we’re also putting the finishing touches to a newDisposable Media website. -
The Aesthetic Mind This Page Intentionally Left Blank the Aesthetic Mind Philosophy and Psychology
The Aesthetic Mind This page intentionally left blank The Aesthetic Mind Philosophy and Psychology EDITED BY Elisabeth Schellekens and Peter Goldie 1 3 Great Clarendon Street, Oxford OX26DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York # the several contributors 2011 The moral rights of the authors have been asserted Database right Oxford University Press (maker) First published 2011 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset by SPI Publisher Services, Pondicherry, India Printed in Great Britain on acid-free paper by MPG Books Group, Bodmin and King’s Lynn ISBN 978–0–19–969151–7 13579108642 Contents List of Figures viii Notes on Contributors ix Introduction 1 Elisabeth Schellekens and Peter Goldie Part I. -
Sławek Tadeusz. (1994). "Sublime Labours" : Blake, Nietzsche and the Notion of the Sublime
Title: "Sublime labours" : Blake, Nietzsche and the notion of the sublime Author: Tadeusz Sławek Sławek Tadeusz. (1994). "Sublime labours" : Blake, Nietzsche Citation style: and the notion of the sublime. W: T. Rachwał, T. Sławek (red.), "”The most sublime act” : essays on the sublime" (S. 28-42). Katowice : Wydawnictwo Uniwersytetu Śląskiego TADEUSZ SLAWEK University o f Silesia “Sublime Labours” : Blake, Nietzsche and the Notion of the Sublime I In Jerusalem Blake inscribes the philosophy of sublime into the logic of contraries, the most powerful machinery of his thought. In the frontispiece of an early version of the poem we read that the landscape of Albion is for med by two principal “rocks” of “Sublime and Pathos” 1 which, however, are locked in a paradoxical situation. On the one hand, they are seats of so lidity, foundational rocks upon which The combination of pathos and sub lime could possibly signal Blake’s things can be built (“fix’d in the Earth”, allegiance to the 18th-century aes J. 1.4), but — on the other hand — they thetics. In 1696 John Dennis was are not readily available as such, their “led to reduce art to the expression solidity is suppressed by the “Spectrous of passion”, and in this way “the Power” of “reason” which “covers them sublime and the pathetic begin their long journey in each other’s com above”. There are, at least, two impor pany”. tant consequences of such a positioning (W.H. Monk, The Sublime. A Study o f Critical of sublime. First, its foundational, ori- Theories in XVIII-Century England (New ginary, character must be validated by York: 1935), p. -
A Collaborative Environment for Music Transcription and Publishing
82 Social Shaping of Digital Publishing: Exploring the Interplay Between Culture and Technology A.A. Baptista et al. (Eds.) IOS Press, 2012 © 2012 The authors and IOS Press. All rights reserved. doi:10.3233/978-1-61499-065-9-82 WIKI::SCORE A Collaborative Environment For Music Transcription And Publishing JoseJo´ ao˜ ALMEIDA a, Nuno Ramos CARVALHO a and Jose´ Nuno OLIVEIRA a a e-mail: {jj,narcarvalho,jno}@di.uminho.pt University of Minho, Braga, Portugal Abstract. Music sources are most commontly shared in music scores scanned or printed on paper sheets. These artifacts are rich in information, but since they are images it is hard to re-use and share their content in todays’ digital world. There are modern languages that can be used to transcribe music sheets, this is still a time consuming task, because of the complexity involved in the process and the typical huge size of the original documents. WIKI::SCORE is a collaborative environment where several people work to- gether to transcribe music sheets to a shared medium, using the notation. This eases the process of transcribing huge documents, and stores the document in a well known notation, that can be used later on to publish the whole content in several formats, such as a PDF document, images or audio files for example. Keywords. music transcription, Abc, wiki, collaborative work, music publishing Introduction Music transcriptions are most electronically shared is pictorial formats, as pictures or scans (copyright permitting) of the original music scores. Although this information is semantically rich it is hard to re-use or transform in automatic and systematic ways, without human intervention. -
A Perceptual Aesthetics Measure for 3D Shapes
A Perceptual Aesthetics Measure for 3D Shapes Kapil Dev1 Manfred Lau1 Ligang Liu2 1Lancaster University 2USTC China Figure 1: 778 “club chair” 3D models downloaded online and ranked by our aesthetics measure (please zoom in to see shape details). The rankings are from the top to bottom rows and left to right in each row. The top and bottom 10 models are enlarged for easier visualization. Abstract 2011]. For 3D shapes, the study of aesthetics [Se´quin 2005; Bergen and Ross 2012; Vartanian et al. 2013; Miura and Gobithaasan 2014] While the problem of image aesthetics has been well explored, the has considered specific manually-crafted features such as curvature study of 3D shape aesthetics has focused on specific manually and symmetry and mathematical properties such as bending energy defined features. In this paper, we learn an aesthetics measure and minimum variation surface. However, these are pre-defined for 3D shapes autonomously from raw voxel data and without features in the sense that curvature, for example, is pre-selected manually-crafted features by leveraging the strength of deep learn- as a feature to be tested. In contrast, our approach works without ing. We collect data from humans on their aesthetics preferences manually-crafted features such that there is no bias or pre-defined for various 3D shape classes. We take a deep convolutional 3D conception of how to computationally define aesthetics. We lever- shape ranking approach to compute a measure that gives an aesthet- age one of the fundamental concepts of deep learning to do so. We ics score for a 3D shape. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
The Role of the Sublime in Kant's Moral Metaphysics
Cultural Heritage and Contemporary Change Series I, Culture and Values, Volume 18 The Role of the Sublime in Kant's Moral Metaphysics By John R. Goodreau The Council for Research in Values and Philosophy 1 Copyright © 1998 by The Council for Research in Values and Philosophy Gibbons Hall B-20 620 Michigan Avenue, NE Washington, D.C. 20064 All rights reserved Printed in the United States of America Library of Congress Cataloging-in-Publication Goodreau, John R. The role of the sublime in Kant’s moral metaphysics / John R. Goodreau. p.cm. — (Cultural heritage and contemporary change. Series I. Culture and values ; vol. 18) Includes bibliographical references and index. 1. Kant, Immanuel, 1724-1804. Kritik der Urteilskraft. 2. Kant, Immanuel, (1724-1804)— Contributions in concept of the sublime. 3. Sublime, the--History. 4. Asethetsics. I. Title. II. Series. B2784.G66 1998 98-47982 111’.85’092—dc21 CIP ISBN 1-56518-124-7 (pbk.) 2 Table of Contents Foreword ix Preface x Introduction 1 I. The Pre-Critical Years 17 II. The Emergence of the Critical Philosophy 47 III. The Critique of Judgment: The Beautiful 89 IV. The Critique of Judgment: The Sublime 133 V. After the Critique of Judgment 155 Conclusion 189 Bibliography 193 3 Foreword George F. McLean This work of Professor John Goodreau is topical, for the basic change of our times is its opening to the aesthetic dimension of human consciousness. To see this it is necessary to return to the beginning of the modern period. At that time it was the fashion to remove from the mind all except the clear and distinct ideas of technical reason.