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Effects of Learning on Dissonance Judgments
journal of interdisciplinary music studies 2014-2016, volume 8, issue 1&2, art. #16081201, pp. 11-28 open peer commentary article Effects of learning on dissonance judgments Diana Omigie1,2,3,4, Delphine Dellacherie 1,5 and Séverine Samson1,2 1UFR de Psychologie, Laboratoire PSITEC-EA 4072, Université de Lille 2 Hôpital de la Pitié-Salpêtrière, Paris 3 Centre de Neuroimagerie de Recherche - CENIR, 7-75013 Paris, 4 Inserm U 1127, CNRS UMR 7225, Sorbonne Universités, UPMC Univ Paris 06 UMR S 1127, Institut du Cerveau et de la Moelle épinière - ICM, F-75013, Paris 5 Unité de Neuropediatrie, Centre Hospitalier Régional Universitaire, Lille Background in music cognition: A frequently posed question regards the origins of the aversion most listeners have to dissonant sounds. In the domain of psychology, attempts to address this question have included examining how early similar biases may be found in infants as well as whether they exist at all in non-human species. In contrast, another line of work has, rather than focusing on potential biological predispositions, examined the specific role that musical exposure and training may play in driving emotional judgments of dissonance. Background in music history: Speculation as to why consonant sounds are preferred to dissonant sounds dates back many centuries to the ancient Greek notion that beauty is intrinsically related to proportions. More recently, the prevailing theory is that sensory dissonance arises as a result of mechanical interference within the organ of hearing, although another plausible theory states that consonance preferences are driven by a preference for harmonicity. Aims: The current review aims to re-examine the direct evidence that may be found for a role of learning mechanisms in dissonance processing, and in doing so inform theories of dissonance perception. -
Gestalt Psychology and the Anti-Metaphysical Project of the Aufbau
Science and Experience/ Science of Experience: Gestalt Psychology and the Anti-Metaphysical Project of the Aufbau Uljana Feest Technische Universität Berlin This paper investigates the way in which Rudolf Carnap drew on Gestalt psychological notions when deªning the basic elements of his constitutional system. I argue that while Carnap’s conceptualization of basic experience was compatible with ideas articulated by members of the Berlin/Frankfurt school of Gestalt psychology, his formal analysis of the relationship between two ba- sic experiences (“recollection of similarity”) was not. This is consistent, given that Carnap’s aim was to provide a uniªed reconstruction of scientiªc knowl- edge, as opposed to the mental processes by which we gain knowledge about the world. It is this last point that put him in marked contrast to some of the older epistemological literature, which he cited when pointing to the complex character of basic experience. While this literature had the explicit goal of overcoming metaphysical presuppositions by means of an analysis of conscious- ness, Carnap viewed these attempts as still carrying metaphysical baggage. By choosing the autopsychological basis, he expressed his intellectual depth to their antimetaphysical impetus. By insisting on the metaphysical neutrality of his system, he emphasized that he was carrying out a project in which they had not succeeded. 1. Introduction In his 1928 book, Der Logische Aufbau der Welt, Rudolf Carnap presented what he called a “constructional system” (Carnap 1967). The aim of this system was to demonstrate that all of our scientiªc concepts are logically derivable from more “basic” concepts in a hierarchical fashion. -
Sound Adaptation: How Our Voices Changed Including a Pilot Exhibit at the Museum Für Naturkunde Berlin
Zusammenfassung Das Forschungsprojekt wird von vier Partnern durchgeführt, wobei alle Arbeitsaufgaben kollaborativ strukturiert sind. Wir werden ‚Mixed Methods‘ auf zwei Arten realisieren: 1. Typischerweise konzentriert sich Informatik auf das Prüfen von Systemen. Im Gegensatz dazu zielen Digital Humanities darauf, Hypothesen zu testen. Wir werden beide Methoden kombinieren. 2. Überwachtes maschinelles Lernen ermöglicht eine Mischung aus qualitativer post quem Anpassung der Hypothesen an die Daten und ‚harter‘ Überprüfung von Hypothesen über die statistische Zuverlässigkeit. Da Systeme/Algorithmen in unserem Projekt Teil des Experiments sind (kein Mechanismus, der Evidenz hervorbringt), führt dies zu einem gemischten Methodenansatz, in dem sich hermeneutische Intervention und maschinelles Lernen modular ergänzen. Als Fallstudie werden wir uns auf (digitale) Objekte konzentrieren, die von den Digital Humanities kaum untersucht worden sind: Lautaufnahmen. Lautaufnahmen bergen Bedeutungsschichten, die Texte nicht innehaben. Sie sind eine wertvolle Quelle für die performativen Aspekte von Kultur und für Transfers zwischen Natur und Kultur. Der Großteil des Materials in europäischen Lautarchiven ist nicht zugänglich, da semantische Metadaten entweder unzureichend oder gar nicht vorhanden sind. Wir wollen überwachtes maschinelles Lernen (Mustererkennung) dazu verwenden, die Bestände auf bestimmte Lauteigenschaften hin durchsuchbar zu machen. Wir kodieren Algorithmen darauf, akustische Eigenschaften in Lautsignalen zu identifizieren, die handlungsrelevante -
Philosophia Scientiæ, 19-3 | 2015, « the Bounds of Naturalism » [Online], Online Since 03 November 2017, Connection on 10 November 2020
Philosophia Scientiæ Travaux d'histoire et de philosophie des sciences 19-3 | 2015 The Bounds of Naturalism Experimental Constraints and Phenomenological Requiredness Charles-Édouard Niveleau and Alexandre Métraux (dir.) Electronic version URL: http://journals.openedition.org/philosophiascientiae/1121 DOI: 10.4000/philosophiascientiae.1121 ISSN: 1775-4283 Publisher Éditions Kimé Printed version Date of publication: 30 October 2015 ISBN: 978-2-84174-727-6 ISSN: 1281-2463 Electronic reference Charles-Édouard Niveleau and Alexandre Métraux (dir.), Philosophia Scientiæ, 19-3 | 2015, « The Bounds of Naturalism » [Online], Online since 03 November 2017, connection on 10 November 2020. URL : http://journals.openedition.org/philosophiascientiae/1121 ; DOI : https://doi.org/10.4000/ philosophiascientiae.1121 This text was automatically generated on 10 November 2020. Tous droits réservés 1 TABLE OF CONTENTS The Bounds of Naturalism: A Plea for Modesty Charles-Édouard Niveleau and Alexandre Métraux A Philosopher in the Lab. Carl Stumpf on Philosophy and Experimental Sciences Riccardo Martinelli La phénoménologie expérimentale d’Albert Michotte : un problème de traduction Sigrid Leyssen Objectifying the Phenomenal in Experimental Psychology: Titchener and Beyond Gary Hatfield Spatial Elements in Visual Awareness. Challenges for an Intrinsic “Geometry” of the Visible Liliana Albertazzi The Phenomenology of the Invisible: From Visual Syntax to “Shape from Shapes” Baingio Pinna, Jan Koenderink and Andrea van Doorn The Deep Structure of Lives Michael Kubovy Philosophia Scientiæ, 19-3 | 2015 2 The Bounds of Naturalism: A Plea for Modesty Charles-Édouard Niveleau and Alexandre Métraux Many thanks to William Blythe for his insightful linguistic corrections on the English text. 1 Introduction 1 The articles published in this volume of Philosophia Scientiæ address specific issues in contemporary psychological research. -
Musical Narrative As a Tale of the Forest in Sibelius's Op
Musical Narrative as a Tale of the Forest in Sibelius’s Op. 114 Les Black The unification of multi-movement symphonic works was an important idea for Sibelius, a fact revealed in his famous conversation with Gustav Mahler in 1907: 'When our conversation touched on the essence of the symphony, I maintained that I admired its strictness and the profound logic that creates an inner connection between all the motifs.'1 One might not expect a similar network of profoundly logical connections to exist in sets of piano miniatures, pieces he often suggested were moneymaking potboilers. However, he did occasionally admit investing energy into these little works, as in the case of this diary entry from 25th July 1915: "All these days have gone up in smoke. I have searched my heart. Become worried about myself, when I have to churn out these small lyrics. But what other course do I have? Even so, one can do these things with skill."2 While this admission might encourage speculation concerning the quality of individual pieces, unity within groups of piano miniatures is influenced by the diverse approaches Sibelius employed in composing these works. Some sets were composed in short time-spans, and in several cases included either programmatic titles or musical links that relate the pieces. Others sets were composed over many years and appear to have been compiled simply to satisfied the demands of a publisher. Among the sets with programmatic links are Op. 75, ‘The Trees’, and Op. 85, ‘The Flowers’. Unifying a set through a purely musical device is less obvious, but one might consider his very first group of piano pieces, the Op. -
SMPC 2011 Attendees
Society for Music Perception and Cognition August 1114, 2011 Eastman School of Music of the University of Rochester Rochester, NY Welcome Dear SMPC 2011 attendees, It is my great pleasure to welcome you to the 2011 meeting of the Society for Music Perception and Cognition. It is a great honor for Eastman to host this important gathering of researchers and students, from all over North America and beyond. At Eastman, we take great pride in the importance that we accord to the research aspects of a musical education. We recognize that music perception/cognition is an increasingly important part of musical scholarship‐‐and it has become a priority for us, both at Eastman and at the University of Rochester as a whole. This is reflected, for example, in our stewardship of the ESM/UR/Cornell Music Cognition Symposium, in the development of several new courses devoted to aspects of music perception/cognition, in the allocation of space and resources for a music cognition lab, and in the research activities of numerous faculty and students. We are thrilled, also, that the new Eastman East Wing of the school was completed in time to serve as the SMPC 2011 conference site. We trust you will enjoy these exceptional facilities, and will take pleasure in the superb musical entertainment provided by Eastman students during your stay. Welcome to Rochester, welcome to Eastman, welcome to SMPC 2011‐‐we're delighted to have you here! Sincerely, Douglas Lowry Dean Eastman School of Music SMPC 2011 Program and abstracts, Page: 2 Acknowledgements Monetary -
Towards a Generative Framework for Understanding Musical Modes
Table of Contents Introduction & Key Terms................................................................................1 Chapter I. Heptatonic Modes.............................................................................3 Section 1.1: The Church Mode Set..............................................................3 Section 1.2: The Melodic Minor Mode Set...................................................10 Section 1.3: The Neapolitan Mode Set........................................................16 Section 1.4: The Harmonic Major and Minor Mode Sets...................................21 Section 1.5: The Harmonic Lydian, Harmonic Phrygian, and Double Harmonic Mode Sets..................................................................26 Chapter II. Pentatonic Modes..........................................................................29 Section 2.1: The Pentatonic Church Mode Set...............................................29 Section 2.2: The Pentatonic Melodic Minor Mode Set......................................34 Chapter III. Rhythmic Modes..........................................................................40 Section 3.1: Rhythmic Modes in a Twelve-Beat Cycle.....................................40 Section 3.2: Rhythmic Modes in a Sixteen-Beat Cycle.....................................41 Applications of the Generative Modal Framework..................................................45 Bibliography.............................................................................................46 O1 O Introduction Western -
Study of Bartok's Compositions by Focusing on Theories of Lendvai, Karpati and Nettl
Science Arena Publications Specialty Journal of Humanities and Cultural Science ISSN: 2520-3274 Available online at www.sciarena.com 2018, Vol, 3 (4): 9-25 Study of Bartok's Compositions by Focusing on Theories of Lendvai, Karpati and Nettl Amir Alavi Lecturer, Tehran Art University, Tehran, Iran. Abstract: Bela Bartok is one of the most influential composers of the twentieth century whose works have been attended by many theorists. Among the most prominent musical theorists focusing on Bartok's works, Erno Lendvai, Jonas Karpati, Burno Nettl, and Milton Babbitt can be mentioned. These scholars have offered great theories by studying hidden, melodic and harmonic relations, and formal structures in the Bartok’s composition. The breadth of Bartok's works, diversity in using pitch organization, and lack of Bartok's personal views on analyzing his works, encouraged theorists to study his work more. The reason for focusing on Bartok in this research can be attributed to his prominent state as a composer in the twentieth century, as well as the way he employs folk melodies as the main component of composing structure. By focusing on tonal aspects, pitch organization, chord relations, and harmonic structures, this study deals with melodic lines and formal principles, and then dissects the theories and indicators in accordance with the mentioned theorists’ views. Keywords: Bartok, Axis System, Pole and Counter Pole, Overtone. INTRODUCTION Bartok's musical structure was initially influenced by the folk music of Eastern Europe. However, he has not provided any explanation with regard to his music. John Vinton's paper titled “Bartok in His Own Music” can be considered as the main source of reflection of Bartok's thoughts. -
Changd75304.Pdf
Copyright by Chia-Lun Chang 2006 The Treatise Committee for Chia-Lun Chang Certifies that this is the approved version of the following treatise: FIVE PRELUDES OPUS 74 BY ALEXANDER SCRIABIN: THE MYSTIC CHORD AS BASIS FOR NEW MEANS OF HARMONIC PROGRESSION Committee: Elliott Antokoletz, Co-Supervisor Lita Guerra, Co-Supervisor Gregory Allen A. David Renner Rebecca A. Baltzer Reshma Babra Naidoo FIVE PRELUDES OPUS 74 BY ALEXANDER SCRIABIN: THE MYSTIC CHORD AS BASIS FOR NEW MEANS OF HARMONIC PROGRESSION by Chia-Lun Chang, B.A., M.M. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin December, 2006 Dedication To Mom and Dad Acknowledgements I wish to express my sincere gratitude to my academic supervisor, Professor Elliott Antokoletz, for his intelligence, unfailing energy and his inexhaustible patience. This project would not have been possible without his invaluable guidance and assistance. My deepest appreciation goes to my piano teacher, Professor Lita Guerra, whose unconditional support and encouragement gave me strength and faith to complete the treatise. Acknowledgment is gratefully made to the publisher for the use of the musical examples. Credit is given to Alexander Scriabin: Five Preludes, Op. 74 [public domain]. Piano score originally published by the Izdatel’stvo Muzyka [Music Publishing House], Moscow, 1967, reprinted 1973 by Dover Publications, Inc. Minneola, N.Y. v FIVE PRELUDES OPUS 74 BY ALEXANDER SCRIABIN: THE MYSTIC CHORD AS BASIS FOR NEW MEANS OF HARMONIC PROGRESSION Publication No._____________ Chia-Lun Chang, D.M.A. -
Scale Models of Acoustic Scattering Problems Including Barriers and Sound Absorption
University of Kentucky UKnowledge Theses and Dissertations--Mechanical Engineering Mechanical Engineering 2018 SCALE MODELS OF ACOUSTIC SCATTERING PROBLEMS INCLUDING BARRIERS AND SOUND ABSORPTION Nan Zhang University of Kentucky, [email protected] Author ORCID Identifier: https://orcid.org/0000-0003-2707-8716 Digital Object Identifier: https://doi.org/10.13023/etd.2018.304 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Zhang, Nan, "SCALE MODELS OF ACOUSTIC SCATTERING PROBLEMS INCLUDING BARRIERS AND SOUND ABSORPTION" (2018). Theses and Dissertations--Mechanical Engineering. 119. https://uknowledge.uky.edu/me_etds/119 This Master's Thesis is brought to you for free and open access by the Mechanical Engineering at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Mechanical Engineering by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Chord-Scale Networks in the Music and Improvisations of Wayne Shorter
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 8 Issue 1 Article 7 April 2018 Chord-Scale Networks in the Music and Improvisations of Wayne Shorter Garrett Michaelsen University of Massachusetts, Lowell, [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Recommended Citation Michaelsen, Garrett (2018) "Chord-Scale Networks in the Music and Improvisations of Wayne Shorter," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 8 : Iss. 1 , Article 7. Available at: https://trace.tennessee.edu/gamut/vol8/iss1/7 This Article is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. CHORD-SCALE NETWORKS IN THE MUSIC AND IMPROVISATIONS OF WAYNE SHORTER GARRETT MICHAELSEN ayne Shorter’s tune “E.S.P.,” first recorded on Miles Davis’s 1965 album of the same Wname , presents a number of fascinating challenges to harmonic analysis. Example 1 gives the tune’s lead sheet, which shows its melody and chord changes. In the first eight-bar phrase, the harmony moves at a slow, two-bar pace, sliding between chords with roots on E, F, and E beneath a repeating fourths-based melody that contracts to an A4–F4 major third in the last two bars. Shorter’s melody quite often emphasizes diatonic and chromatic ninths, elevenths, and thirteenths against the passing harmonies, thereby underscoring the importance of those extensions to the chords. -
CLINE-DISSERTATION.Pdf (2.391Mb)
Copyright by John F. Cline 2012 The Dissertation Committee for John F. Cline Certifies that this is the approved version of the following dissertation: Permanent Underground: Radical Sounds and Social Formations in 20th Century American Musicking Committee: Mark C. Smith, Supervisor Steven Hoelscher Randolph Lewis Karl Hagstrom Miller Shirley Thompson Permanent Underground: Radical Sounds and Social Formations in 20th Century American Musicking by John F. Cline, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication This dissertation is dedicated to my mother and father, Gary and Linda Cline. Without their generous hearts, tolerant ears, and (occasionally) open pocketbooks, I would have never made it this far, in any endeavor. A second, related dedication goes out to my siblings, Nicholas and Elizabeth. We all get the help we need when we need it most, don’t we? Acknowledgements First and foremost, I would like to thank my dissertation supervisor, Mark Smith. Even though we don’t necessarily work on the same kinds of topics, I’ve always appreciated his patient advice. I’m sure he’d be loath to use the word “wisdom,” but his open mind combined with ample, sometimes non-academic experience provided reassurances when they were needed most. Following closely on Mark’s heels is Karl Miller. Although not technically my supervisor, his generosity with his time and his always valuable (if sometimes painful) feedback during the dissertation writing process was absolutely essential to the development of the project, especially while Mark was abroad on a Fulbright.