DOCSLIB.ORG

Expression and Movement in Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Expression and Movement in Music Hearing through the Body: Expression and Movement in Music Georgios Papageorgiou Music Department, Royal Holloway, University of London, United Kingdom 2012 A dissertation submitted in partial fulfilment of the degree of Doctor of Philosophy. 1 Declaration of Authorship I, Georgios Papageorgiou, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Abstract This thesis engages with complex issues of musical expression and movement, and their relation, on the one hand, to musical structure and, on the other hand, to embodied musical experience. It aims to fill a gap in music theory and analysis: most methods overemphasise abstract conceptualisation of structural relations at the expense of the more dynamic, intuitive aspect of musical experience. As a solution, it offers a specific analytical method that can be used to explore dynamic aspects of music as experienced through the whole body. Drawing mainly on nineteenth-century piano music, I analyse aspects of structure in both composition and performance in terms of expressive and motional qualities, revealing the relationship between musical and physical movement. Expressivity in music derives its meaning, at least partly, from the embodied experience of music: performers shape expression through their whole body while listeners react to it in a comparable way, albeit less overtly. Two related systems of graphic notation are introduced, which provide a non-verbal means of representing expressive movement and at the same time encourage an immediate, visceral relationship to the music. The first notation captures the animated quality of expressive movement by analogy with the motion of a bouncing ball, while the second breaks down the expressive musical flow into discrete gestural patterns of specific motional character. While the ultimate value of this method lies in the analytical process it instigates, it also provides a novel theoretical framework that sheds light on the interaction, as well as integration, between structures such as metre, rhythm, harmony and voice-leading, which are traditionally studied mostly independently. In addition, it provides a useful tool for the study and communication of performance interpretation, based on data extracted from recordings in the form of tempo and dynamic fluctuation graphs. 3 Copyright © Georgios Papageorgiou, 2012 All rights reserved. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the author’s prior consent. 4 Table of Contents Abstract ...........................................................................................................................3 Acknowledgments ...........................................................................................................7 List of Figures .................................................................................................................9 Media Examples ............................................................................................................ 18 Introduction ................................................................................................................. 20 Chapter 1: The Gap between Theory and Practice .......................................................... 37 1.1 The conflict between theorists and performers .................................................................. 38 1.2 Thinking through the body................................................................................................... 41 1.3 Rational thinking .................................................................................................................. 45 1.4 Eurhythmicising Music Theory ............................................................................................. 48 Chapter 2: Towards an Integrated/Rhythmicised Music Theory ..................................... 60 2.1 The reductionist approach ................................................................................................... 62 2.2 Analysis through/as performance ....................................................................................... 77 2.3 Rhythmicising stability and instability................................................................................. 82 2.4 Gestural process at the forefront ....................................................................................... 97 2.5 Metre opposed to rhythm ................................................................................................ 108 2.6 Integrating musical structures .......................................................................................... 121 Chapter 3: Music Analysis through Movement ............................................................ 132 3.1 Musical expression as movement ..................................................................................... 132 3.2 The “Bouncing Ball” analogy .............................................................................................. 143 3.3 Gestural motion ................................................................................................................. 158 Chapter 4: Musical Structure and Experience ............................................................... 173 4.1 Musical structure and experience ..................................................................................... 173 4.2 Compositional structure and Expressive Potential ............................................................ 176 4.3 Performance structure and Experienced Expression ......................................................... 198 Chapter 5: Analysis of Performance Interpretation ....................................................... 212 5. 1 Tempo and dynamic fluctuation ....................................................................................... 213 5.2 Isolating tempo and dynamics .......................................................................................... 233 5. 3 Dynamo-Tempo graphs ..................................................................................................... 251 5. 4 Dynamo-Tempo patterns .................................................................................................. 255 5.5 Special surface-level expressive effects ............................................................................ 270 Epilogue: Playing with Gestures .................................................................................. 283 6.1 «Alice»: Engaging students through story telling ............................................................. 283 5 6.2 The “Bouncing Ball”: Analysis through virtual movement ................................................ 286 6.3 Structuring expressive movement ..................................................................................... 290 6.4 Performing through virtual gestures ................................................................................. 294 References ................................................................................................................... 298 Discography ................................................................................................................ 318 Appendix A ................................................................................................................. 319 List of Terms ............................................................................................................................. 320 6 Acknowledgments I am grateful to my supervisor Nicholas Cook for providing close guidance throughout the whole process of researching and writing my thesis. I would also like to thank all those who provided any kind of help to me and especially my professors at the University of Oregon (Steve Larson, Robert Hurwitz, Jack Boss, Harold Owen and Angelo Dias), my professors at the Eastman School of Music (William Marvin, David Temperley, Matthew Brown, Daniel Harrison, Marie Rolf, Steve Laitz, Robert Wason, Matt BaileyShea and David Headlam), professors and staff members at Royal Holloway (Julie Brown, Julian Johnson, Henry Stobart and Elias Nanette), Daniel Leech-Wilkinson and Mine Do ğantan Dack. Many thanks also to my friends and to Constantinos Xenofontos. I would like to express my biggest thanks to my parents and family whose patience, love and endless support were invaluable. 7 To my parents 8 List of Figures Figure 1.1 Interdependence of bodily and cognitive processes with embodied metaphors. Figure 1.2 Reproduction of Figure 3.7 from Pierce’s Deepening Musical Performance (p. 61) showing a graphic representation of a contouring exercise on Debussy’s “Bruyères”, bars 1-4. Figure 1.3 Snapshot of the “Performance Worm” visualisation of the first four bars of Daniel Barenboim’s performance of Mozart’s F major sonata K.332, second movement. Figure 1.4 A Mozart Performance “Alphabet” (cluster prototypes) computed by Segmentation, Mean, and Variance Normalisation and Clustering from performances of Mozart Piano Sonatas by six pianists. Figure 1.5 John Rink’s Figure 10.2 showing an “intensity curve” of “Valée d’Obermann” based on the author’s performance. Figure 2.1 Schumann’s “Aus meinen Tränen spriessen” from Dichterliebe. Figure 2.2 Reproduction of Schenker’s Example 22b from Free Composition . Figure 2.3 Reproduction of Lerdahl
Load more

Recommended publications
  • Doktorska Disertacija
    UNIVERZITET UMETNOSTI U BEOGRADU Interdisciplinarne studije Teorija umetnosti i medija Doktorska disertacija: Studije izvođačkih umetnosti: performativnost i funkcija telesnog gesta u pijanizmu autor: Marija Dinov Vasić mentor: dr Marija Masnikosa, vanr. prof. Beograd, jun 2019. god. Mentor: dr Marija Masnikosa, vanredni profesor, Univerzitet umetnosti u Beogradu, Fakultet muzičke umetnosti, Katedra za muzikologiju Članovi komisije za ocenu i odbranu: dr Tijana Popović Mlađenović, redovni profesor, Univerzitet umetnosti u Beogradu, Fakultet muzičke umetnosti, Katedra za muzikologiju dr Marina Marković, redovni profesor, Univerzitet umetnosti u Beogradu, Fakultet dramskih umetnosti, Katedra za glumu dr Nevena Daković, redovni profesor, Univerzitet umetnosti u Beogradu, Fakultet dramskih umetnosti, Katedra za Teoriju i istoriju dr Ivana Medić, naučni saradnik, Muzikološki institut SANU 1 Apstrakt Doktorska disertacija Studije izvođačkih umetnosti: Performativnost i funkcija telesnog gesta u pijanizmu je diskusija o telesnim pokretima (kinestetičkim gestovima) koje u svojim izvođenjima demonstriraju pijanisti, kako bi u jednoj sinergijskoj (auditivno-vizuelnoj) izvođačkoj formi otelotvorili muzičko-poetski sadržaj. Naučna rasprava izvedena je u formi fenomenološke studije, a za predmet istraživanja određena je pijanistička izvođačka umetnost. Temeljni postulati pijanizma sagledani su kroz prizmu njegovog esencijalnog fenomena – pijanističkog gesta. Definicija ovog fenomena izvedena je preko Šenkerove teze prema kojoj suština pijanističkog
    [Show full text]
  • A History of Electroacoustics: Hollywood 1956 – 1963 by Peter T
    A History of Electroacoustics: Hollywood 1956 – 1963 By Peter T. Humphrey A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music and the Designated Emphasis in New Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor James Q. Davies, Chair Professor Nicholas de Monchaux Professor Mary Ann Smart Professor Nicholas Mathew Spring 2021 Abstract A History of Electroacoustics: Hollywood 1956 – 1963 by Peter T. Humphrey Doctor of Philosophy in Music and the Designated Emphasis in New Media University of California, Berkeley Professor James Q. Davies, Chair This dissertation argues that a cinematic approach to music recording developed during the 1950s, modeling the recording process of movie producers in post-production studios. This approach to recorded sound constructed an imaginary listener consisting of a blank perceptual space, whose sonic-auditory experience could be controlled through electroacoustic devices. This history provides an audiovisual genealogy for electroacoustic sound that challenges histories of recording that have privileged Thomas Edison’s 1877 phonograph and the recording industry it generated. It is elucidated through a consideration of the use of electroacoustic technologies for music that centered in Hollywood and drew upon sound recording practices from the movie industry. This consideration is undertaken through research in three technologies that underwent significant development in the 1950s: the recording studio, the mixing board, and the synthesizer. The 1956 Capitol Records Studio in Hollywood was the first purpose-built recording studio to be modelled on sound stages from the neighboring film lots. The mixing board was the paradigmatic tool of the recording studio, a central interface from which to direct and shape sound.
    [Show full text]
  • Nkinformer December 2019.Pdf
    The NKInformer A newsletter of the Nathan S. Kline Institute for Psychiatric Research Donald C. Goff, MD, Director Antonio Convit, MD, Deputy Director Thomas O’Hara, MBA, Deputy Director, Institute Administration November – December 2019 Stuart Moss, MLS, Editor COMMUNITY CONNECTIONS The Memory Education and Research Initiative (MERI) Program Celebrates 17 Years of Service and 2020 Funding Front: Anne Schatz, Katie Brundage, Chelsea Reichert Plaska Rear: Antero Sarreal, Nunzio Pomara, Vita Pomara, Randy Hernando What is the MERI program? in the Geriatrics Division. A primary goal of the MERI program was to identify and provide early diagnosis The MERI program was started by Dr. Nunzio for Alzheimer’s disease (AD). The program has Pomara (Geriatric Psychiatry) in 2003 with the help blossomed over the last 17 years and now follows of Dr. John Sidtis (Brain and Behavior Lab) and Dr. more than 1,200 individuals from Rockland County Lisa Willoughby, a former post-doctoral researcher and the surrounding areas. Community members Why is the MERI program unique? who take part in the MERI receive an extensive The MERI program is the only service of its kind in three to four-hour evaluation which includes Rockland County. According to the Rockland County neuropsychological assessment, a clinical Directory of Services, there are just two places that evaluation, and a psychiatric evaluation by Dr. residents can contact to get a free memory Pomara. Each participant receives a report of their screening: 1) the MERI program at NKI or 2) the performance on the neuropsychological assessment Alzheimer’s Association of Rockland County. While as well as recommendations.
    [Show full text]
  • رقم السجل اسم المؤلف عنوان الكتاب 1 Arthur A.Thon Crafting And
    عنوان الكتاب اسم المؤلف رقم السجل 1 Arthur A.thon Crafting and executing strategy 1 John Van Devegte feed back control systems 2 Arthur A.thon Crafting and executing strategy 2 Charlest Phillips Digital Control system analysis and Design 3 Arthur A.thon Crafting and executing strategy 3 T.William Lambe Soil Mechanics,SI.Version 4 Arthur A.thon Crafting and executing strategy 4 Ferdinand P.Beer mechanics of materials 5 Arthur A.thon Crafting and executing strategy 5 Johan Van Devegte feed back control systems 6 David J.nyers Mobile video telephony 6 Richards.Figliola Theory And Design for mechanical measurements 7 Larry Long Introduction to computers and information processing 7 David J.nyers Mobile video telephony 8 Shan omayaji Civil Engineering Materials 8 David J.nyers Mobile video telephony 9 David J.nyers Mobile video telephony 9 Roy W.Goody PSPice for windows 10 David J.nyers Mobile video telephony 10 zvi kohavi switching and finite automate theory 11 David J.nyers Mobile video telephony 11 M.Ben.Ari understanding programming languages 12 David J.nyers Mobile video telephony 12 Robert A.stern principles of data processing 13 M.morris mano computer system architecture 13 David J.nyers Mobile video telephony 14 anthony.vedford engineering mechanics dynamics 14 David J.nyers Mobile video telephony 15 frederick.j hill computer aided logical design with emphasis on vlsi 15 David J.nyers Mobile video telephony 16 larry long introduction to computers and information processing 16 David J.nyers Mobile video telephony 17 David J.nyers Mobile video telephony 17 robert.astern principles of data processing 18 David J.nyers Mobile video telephony 18 w.g.mclean.b.s.
    [Show full text]
  • Selected Papers (1972-1993) on Sentics and Manfred Clynes
    DELTA LIFE SKILLSsm EMOTIONAL FREEDOM IS IN YOUR HANDS with EFPsm Integral Energy Psychology Phillip W. Warren, B.A., Ph.C., Professor Emeritus, A.P.O.E.C., Cert.Edu- K.,CC-EFT 4459 52A St., Delta, B.C., V4K 2Y3 Canada Phone and voice mail: (604) 946-4963. Toll free North America: 1-866-946-4963 EMail: [email protected] Website: www.rebprotocol.net U.S. mailing address: P.O. Box 1595, Point Roberts, WA 98281-1595 ∆∞x∆∞x∆∞x∆∞x∆∞x∆∞x∆∞x∆∞x∆∞x∆∞x∆∞x∆∞x∆∞x∆∞x∆∞x∆∞x∆∞x∆∞x∆∞x SELECTED PAPERS (1972-1993) ON SENTICS AND MANFRED CLYNES Website for Sentics and Clynes: www.microsoundmusic.com/home.htm MicroSound International Ltd. 19181 Mesquite Court, Sonoma, CA, 95476 800 999 8344 (U.S. toll free) Table of Contents Page 1. On making great music 5 2. Measured response do emotions have shapes you can see and then 9 reproduce? Manfred Clynes's 'sentograf' finds distinct patterns in music as well as life: constructing a new giggle 3. Breaking the code of musicality 13 4. Key to expression: Clynes cites performer empathy as 'central fact of 28 musical meaning' 5. Tuning into the healing power of the emotions: sentic cycles 32 6. The joy (grief, love, hate, anger, sex and reverence) of music 41 7. The pure pulse of musical genius: The biological basis for sharing, emotion 52 8. Sentic cycles: the 7 passions at your fingertips 61 9. Manfred Clynes and the science of Sentics 70 10. Bibliography of sentics theory and the work of Manfred Clynes: 80 chronologically ordered 1958 to 1993 Selected Papers (1972-1993) On Sentics And Manfred Clynes - 1 The Following Figures are referred to throughout these articles Figure 1A Figure 1B Figure 1A: Essentic forms of emotions: When people are asked to push a button while they experience particular feelings, the patterns of pressure on the button approximate these averaged 'pure' forms (essentic forms).
    [Show full text]
  • The Wall Street Journal
    Wall Street Journal Article about Manfred Clynes Page 1 of 4 The Wall Street Journal Tue Sep, 24 1991 -- Front Page Manfred Clynes Sees A Pattern in Love -- He's Got the Printouts His Machine Shows Emotions Have Measurable Shapes That Can Be Reproduced by Timothy K. Smith, Staff Reporter NEW YORK -- When a man with a unique beard announces that Beethoven's last quartets are actually storage devices for noble emotions -- emotions that he can now reproduce with an Apple computer -- some sort of background check is in order. Now then: Who is Professor Manfred Clynes, and what are his scientific credentials? Prof. Clynes, an esteemed neuroscientist, formulated the basic biological law that explains, among other things, why it is impossible to smell the fading of an odor. He also invented the machine that was for many years the standard laboratory device for measuring brain waves. Fair enough. And his musical credentials? Prof. Clynes has performed piano recitals to great acclaim on three continents. He studies with Pablo Casals. Sir Yehudi Menuhin, the violin virtuoso, calls him a friend and "a brilliant musician". Well. And his literary credentials? Prof. Clynes is a published poet and the author of five books. He coined the word "cyborg". He also coined the word "sentics" to describe a new science entirely of his own devising. Anything else? A fan letter from Albert Einstein maybe? "Your art combines a clear understanding of the inner structure of the music with a rare spontaneity of expression. I am convinced that you will meet with the understanding to which your achievement entitles you," Einstein wrote to Prof.
    [Show full text]
  • 2016 Impulsos Interior.Pdf (5.964Mb)
    COL·LECCIÓ ESCRITS TEÒRICS 16 Raimon Àvila IMPULSOS Emoció i qualitat de moviment en l’intèrpret escènic Institut del Teatre de la Diputació de Barcelona Directora general: Magda Puyo Escrits Teòrics © Raimon Àvila Propietat d’aquesta edició: Institut del Teatre de la Diputació de Barcelona Tel. 932 273 900 [email protected] www.institutdelteatre.cat Gener de 2016 Disseny gràfic i maquetació: Artefacto Producció: Direcció de Comunicació de la Diputació de Barcelona Impressió: Agpograf, SA Dipòsit legal: B 4995-2016 ISBN: 978-84-9803-733-3 Il·lustracions: Ada López Il·lustració de coberta: Esboç escenogràfic. Ramón Trabal Altés Fons: Institut del Teatre MAE. Centre de Documentació i Museu de les Arts Escèniques IMPULSOS SUMARI 17 Introducció 27 1. Què és una emoció? 28 De què parlem quan parlem d’emocions? 33 Emocions primàries, secundàries i sentiments 34 Les emocions i l’inconscient 37 2. Emoció escènica: realitat i representació 38 Emocionar-se per emocionar o emocionar sense emocionar-se: la paradoxa del comediant a la llum de la neurociència 40 S’han d’interpretar, les emocions? 41 Veritat o mentida 43 Per a qui sap llegir-lo, el cos no menteix 47 3. Cos-emoció: un corrent de doble sentit 47 L’inconscient es manifesta a través del cos 49 La por: una emoció útil per a la supervivència, però no sempre 53 La ràbia tensa, la tristesa apaga 53 La reacció de l’ensurt i els seus efectes posturals 54 Un cos permeable és un cos vulnerable 56 Relaxar la musculatura per connectar amb les emocions 58 Educació somàtica 60 Emmotllables, polièdrics i camaleònics 61 Autoconeixement, estructura, precisió i qualitat de moviment 65 4.
    [Show full text]
  • The Meaning of Self-Presenting As a 'Cyborg'
    Ars Vivendi Journal No.1 (August 2011): 2-17 The Meaning of Self-presenting as a ‘Cyborg’ Kaname UEMURA* *Graduate School of Core Ethics and Frontier Sciences, Ritsumeikan University 1. The cyborg There are some people who use technology as part of their bodies and self-present as “cyborgs”. In this paper I consider, through examining the case of a woman who received an OOKP transplant, the connotations of references to “cyborg” when used in self presentation. “Cyborg” is a word that was created by Manfred Clynes and Nathan Kline by combining the words “cybernetics” and “organism”. Human beings cannot survive in outer space, and Clynes and Kline originally conceived of “cyborgs” as astronauts who attached biological feedback devices to their bodies in order to maintain homeostasis and thereby survive in what would otherwise be a lethal environment (Clynes & Kline 1960 ). Danna Haraway sees the idea of the cyborg as a combination (hybrid) of a living creature and a machine and uses this a metaphor for the violation of boundaries which has been one of the goals of the western scientific tradition. This tradition has struggled to overcome the boundaries built by the dichotomies of self and other, mind and body, culture and nature, man and woman, and creator and created. Haraway points to three boundaries being destroyed in the high-tech culture of the latter half of the twentieth century: the border between humans and animals, the border between living creatures (humans and animals) and machines, and the border between the physical and the non-physical. He maintains that the ontological distinction between machines and living creatures has already disappeared (Haraway 1991).
    [Show full text]
  • Manfred Clynes, a Neuroscientist and Concert Pianist, Says "Pulses" Show How the Masters Would Have Wanted Their Works to Be Performed
    The New York TImes - February 22, 2000 Page 1 of 6 February 22, 2000 Imbuing a Computer's Performance With Human Emotion (diagram) How Would Great Composers Play It? Some Clues By BOB TEDESCHI nyone who plays Beethoven, Mozart or Bach faces issues that have plagued performers throughout the centuries: namely, the composer's score provides scant guidance on how to approach many facets of the music. Performers make educated guesses as to how loudly to play individual notes, for instance, or how to accent four consecutive quarter notes, but they remain guesses. Susan Spann for The New York Times Dr. Manfred Clynes, a neuroscientist and concert pianist, says "pulses" show how the masters would have wanted their works to be performed. Now Dr. Manfred Clynes, a neuroscientist and concert pianist who lives in Sonoma, Calif., has discovered what he says are clues as to how exactly the masters would have wanted their pieces performed. Dr. Clynes, a former neuropsychology professor at the University of Melbourne, who coined the term "cyborg" and has performed to the acclaim of people like Yehudi Menuhin and Albert Einstein, has identified what he says are patterns in the music of master composers. Those patterns, or "pulses," show how a composer favors louder and longer notes at consistent points in a phrase, much as poets resort to patterns of phrasing or painters favor certain brush strokes. Dr. Clynes argues that similar patterns exist on higher levels in musical compositions, like the way composers stress certain bars in a movement. http://www.superconductor.com/clynes/nyt2-22-2000.htm 25/11/2003 The New York TImes - February 22, 2000 Page 2 of 6 Performances of Beethoven, for instance, carry his characteristic strength and intensity when, in four-note sequences, the second note is played shorter and softer than the others, whereas the notes in Mozart's sequences are more consistent in length and amplitude.
    [Show full text]
  • Phd for Hardbound July 16
    ‘THE PRACTICALITY OF THE IMPOSSIBLE’: STUDIES IN 20th- and 21st- CENTURY PIANO ÉTUDES Naomi Meghan Jia-Ling Woo Faculty of Music University of Cambridge This dissertation is submitted for the degree of Doctor of Philosophy Clare College July 2019 soyez réalistes, demandez l’impossible DECLARATION This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution. It does not exceed 80,000 words. Naomi Woo 2019 ABSTRACT ‘THE PRACTICALITY OF THE IMPOSSIBLE’: STUDIES IN 20th- and 21st-CENTURY PIANO ÉTUDES NAOMI MEGHAN JIA-LING WOO This thesis examines piano études by John Cage, György Ligeti, Conlon Nancarrow, and Nicole Lizée that push the limits of the human body in performance. The thesis opens with an account of the origins of the piano étude in the works of Chopin and Liszt, situating it within the political, economic, and aesthetic conditions of the 19th century. Subsequently, sets of études by Cage, Ligeti, Nancarrow, and Lizée are studied, each using a different body of theoretical literature—including utopian thought, queer theory, and posthumanism—to understand how this limit manifests in musical works.
    [Show full text]
  • Visualizing Expressive Performance in Tempo–Loudness Space
    Jo¨rg Langner* and Werner Goebl† Visualizing *Musikwissenschaftliches Seminar, Humboldt- Universita¨t zu Berlin Unter den Linden 6 Expressive Performance 10099 Berlin, Germany [email protected] in Tempo–Loudness †Austrian Research Institute for Artificial Intelligence (O¨ FAI) Space Freyung 6/VI 1010 Vienna, Austria [email protected] The previous decades of performance research have gle piece. In general, it remains unclear whether yielded a large number of very detailed studies ana- the expressive deviations measured are due to de- lyzing various parameters of expressive music per- liberate expressive strategies, musical structure, formance (see Palmer 1997 and Gabrielsson 1999 motor noise, imprecision of the performer, or even for an overview). A special focus was given to ex- measurement errors. pressive piano performance, because the expressive In the present article, we develop an integrated parameters are relatively few (timing, dynamics, analysis technique in which tempo and loudness and articulation, including pedaling) and compara- are processed and displayed at the same time. Both tively easy to obtain. The majority of performance the tempo and loudness curves are smoothed with studies concentrated on one of these parameters ex- a window size corresponding ideally to the length clusively, and in most of these cases, this parame- of a bar. These two performance parameters are ter was expressive timing. then displayed in a two-dimensional performance In our everyday experience, we never listen to space on a computer screen: a dot moves in syn- one of these parameters in isolation as it is ana- chrony with the sound of the performance. The tra- lyzed in performance research.
    [Show full text]
  • Social Studies of Science
    Social Studies of Science http://sss.sagepub.com/ Where are the Cyborgs in Cybernetics? Ronald Kline Social Studies of Science 2009 39: 331 DOI: 10.1177/0306312708101046 The online version of this article can be found at: http://sss.sagepub.com/content/39/3/331 Published by: http://www.sagepublications.com Additional services and information for Social Studies of Science can be found at: Email Alerts: http://sss.sagepub.com/cgi/alerts Subscriptions: http://sss.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://sss.sagepub.com/content/39/3/331.refs.html >> Version of Record - May 22, 2009 What is This? Downloaded from sss.sagepub.com at St Petersburg State University on January 11, 2014 ABSTRACT Cyborgs – cybernetic organisms, hybrids of humans and machines – have pervaded everyday life, the military, popular culture, and the academic world since the advent of cyborg studies in the mid 1980s. They have been a recurrent theme in STS in recent decades, but there are surprisingly few cyborgs referred to in the early history of cybernetics in the USA and Britain. In this paper, I analyze the work of the early cyberneticians who researched and built cyborgs. I then use that history of cyborgs as a basis for reinterpreting the history of cybernetics by critiquing cyborg studies that give a teleological account of cybernetics, and histories of cybernetics that view it as a unitary discipline. I argue that cyborgs were a minor research area in cybernetics, usually classified under the heading of ‘medical cybernetics’, in the USA and Britain from the publication of Wiener’s Cybernetics in 1948 to the decline of cybernetics among mainstream scientists in the 1960s.
    [Show full text]