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Music to Your Ears
baffies them as much as Beethoven's ONWAI\D A ND UPWAI\D WITH THE AI\T5 Ninth. They match at music as we snatched at movies, filli ng our heads with plural images. A friend with whom MUSIC TO YOUR EARS I was brooding over the way recorded sound supplies a soundtrack for modem The questfor 3-D recording and other mysteries ifsound life said that I ought to seek out Edgar Choueiri, a rocket scientist- really, a BY ADAM GOPNIK rocket scientist!- who has spent a good part of his life worrying about such things. C houeiri, my friend said, had broken the code of something funda mental about the reproduction ofsou nd, and so I went to Princeton, where he has two laboratories, to seek him out. Those of us who have no laboratory at all might regard what Choueiri mod estly calls his "other'' laboratory as the only laboratory that anyone would ever need. It is the size of a small airplane hangar, and it is filled with plasma rocket engines that run on electricity: instead of a wasteful explosion of liquid fuel, a judicious leak of ions pushes the craft forward through a vacuum. If we ever start commuting to Mars, it will likely be a Choueiri-style engine that gets us there and back. The president of the Electric Rocket Propulsion Society, Choueiri is also the president of the Lebanese Academy of Sciences, and is very much, in spirit and appearance, a man of the old Levant. There's the elegant classical nose, the high, anxious brows, and the worried ex pression. -
Australian Music & Psychology Society Newsletter
Australian Music & Psychology Society March, 2016 Edition 2 Australian Music & Psychology Society Newsletter Welcome to our second edition After a slight delay, we are delighted to be able to bring this second edition of the AMPS newsletter to you. This newsletter is a student led publication, to facilitate discussion within the AMPS membership, and to provide a forum for researchers to write about any Inside this issue topics which may take their fancy. Music an antidote for aging? ...... 2 This issue contains some exciting submissions, including summaries of music and neuro- In Memory of Oliver Sacks .......... 3 science, the protective effect of music against cognitive aging, and a book review. We also have an obituary to Oliver Sacks, a prominent neurologist and advocate for music New AMPS Committee ................ 3 psychology. Many of the articles feature hyperlinks and web addresses, so you can access Book Review ............................... 4 additional material, or delve more deeply into this research by exploring web content if Rhythm Tracker .......................... 4 you wish. Music and Neuroscience ............. 5 This is also the last issue that Joanne Ruksenas has worked on as editor-in-chief. All of us on the AMPS Newsletter team would like to thank her for her hard work in putting Music Trust Research Award ....... 6 together this publication, and wish her all the best on her next project! Upcoming Conferences ............... 6 For future editions, please send original articles of scholarly research, book and perfor- AMPS2016 review ....................... 7 mance reviews, discussions of current research, and other items relating to music psy- About AMPS ................................ 8 chology. All are warmly welcomed. -
Memory and Production of Standard Frequencies in College-Level Musicians Sarah E
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2013 Memory and Production of Standard Frequencies in College-Level Musicians Sarah E. Weber University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Cognition and Perception Commons, Fine Arts Commons, Music Education Commons, and the Music Theory Commons Weber, Sarah E., "Memory and Production of Standard Frequencies in College-Level Musicians" (2013). Masters Theses 1911 - February 2014. 1162. Retrieved from https://scholarworks.umass.edu/theses/1162 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Memory and Production of Standard Frequencies in College-Level Musicians A Thesis Presented by SARAH WEBER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC September 2013 Music Theory © Copyright by Sarah E. Weber 2013 All Rights Reserved Memory and Production of Standard Frequencies in College-Level Musicians A Thesis Presented by SARAH WEBER _____________________________ Gary S. Karpinski, Chair _____________________________ Andrew Cohen, Member _____________________________ Brent Auerbach, Member _____________________________ Jeff Cox, Department Head Department of Music and Dance DEDICATION For my parents and Grandma. ACKNOWLEDGEMENTS I would like to thank Kristen Wallentinsen for her help with experimental logistics, Renée Morgan for giving me her speakers, and Nathaniel Liberty for his unwavering support, problem-solving skills, and voice-over help. -
Walt Whitman, John Muir, and the Song of the Cosmos Jason Balserait Rollins College, [email protected]
Rollins College Rollins Scholarship Online Master of Liberal Studies Theses Spring 2014 The niU versal Roar: Walt Whitman, John Muir, and the Song of the Cosmos Jason Balserait Rollins College, [email protected] Follow this and additional works at: http://scholarship.rollins.edu/mls Part of the American Studies Commons Recommended Citation Balserait, Jason, "The nivU ersal Roar: Walt Whitman, John Muir, and the Song of the Cosmos" (2014). Master of Liberal Studies Theses. 54. http://scholarship.rollins.edu/mls/54 This Open Access is brought to you for free and open access by Rollins Scholarship Online. It has been accepted for inclusion in Master of Liberal Studies Theses by an authorized administrator of Rollins Scholarship Online. For more information, please contact [email protected]. The Universal Roar: Walt Whitman, John Muir, and the Song of the Cosmos A Project Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Liberal Studies by Jason A. Balserait May, 2014 Mentor: Dr. Steve Phelan Reader: Dr. Joseph V. Siry Rollins College Hamilton Holt School Master of Liberal Studies Program Winter Park, Florida Acknowledgements There are a number of people who I would like to thank for making this dream possible. Steve Phelan, thank you for setting me on this path of self-discovery. Your infectious love for wild things and Whitman has changed my life. Joe Siry, thank you for support and invaluable guidance throughout this entire process. Melissa, my wife, thank you for your endless love and understanding. I cannot forget my two furry children, Willis and Aida Mae. -
Effects of Emergent-Level Structure on Melodic Processing Difficulty
96 Frank A. Russo, William Forde Thompson, & Lola L. Cuddy EFFECTS OF EMERGENT-LEVEL STRUCTURE ON MELODIC PROCESSING DIFFICULTY FRANK A. RUSSO words, does ease of processing depend in some manner Ryerson University, Toronto, Canada on emergent-level structure defined by theory? The current study investigates whether melodic processing WILLIAM FORDE THOMPSON difficulty varies with respect to music-theoretic descrip- Macquarie University, Sydney, Australia tions of emergent-level structure derived from the Implication-Realization (I-R) model (Narmour, 1990, LOLA L. CUDDY 1992). Queen’s University, Kingston, Canada Two leading cognitive approaches to understanding melodic complexity include information-theoretic and FOUR EXPERIMENTS ASSESSED THE INFLUENCE dynamic attending models. Information-theoretic mod- of emergent-level structure on melodic processing dif- els have focused on the development of coding systems ficulty. Emergent-level structure was manipulated (Cuddy, Cohen, & Mewhort, 1981; Deutsch, 1980; Leeu- across experiments and defined with reference to the wenberg, 1969; Restle, 1970; Simon, 1972). A hierarchi- Implication-Realization model of melodic expectancy cal melody with surface- and emergent-level structure (Narmour, 1990, 1992, 2000). Two measures of melodic can be described economically using nested codes that processing difficulty were used to assess the influence of exploit redundancies. The codes are assumed to capture emergent-level structure: serial-reconstruction and important aspects of mental representation, and -
Large Scale Sound Installation Design: Psychoacoustic Stimulation
LARGE SCALE SOUND INSTALLATION DESIGN: PSYCHOACOUSTIC STIMULATION An Interactive Qualifying Project Report submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science by Taylor H. Andrews, CS 2012 Mark E. Hayden, ECE 2012 Date: 16 December 2010 Professor Frederick W. Bianchi, Advisor Abstract The brain performs a vast amount of processing to translate the raw frequency content of incoming acoustic stimuli into the perceptual equivalent. Psychoacoustic processing can result in pitches and beats being “heard” that do not physically exist in the medium. These psychoac- oustic effects were researched and then applied in a large scale sound design. The constructed installations and acoustic stimuli were designed specifically to combat sensory atrophy by exer- cising and reinforcing the listeners’ perceptual skills. i Table of Contents Abstract ............................................................................................................................................ i Table of Contents ............................................................................................................................ ii Table of Figures ............................................................................................................................. iii Table of Tables .............................................................................................................................. iv Chapter 1: Introduction ................................................................................................................. -
Infant Communication and Musical Improvisation Maya Gratier and Julien Magnier
Document generated on 10/02/2021 1:22 a.m. Intermédialités Histoire et théorie des arts, des lettres et des techniques Intermediality History and Theory of the Arts, Literature and Technologies Sense and Synchrony: Infant Communication and Musical Improvisation Maya Gratier and Julien Magnier synchroniser Article abstract synchronizing This paper explores the forms and functions of synchrony in two Number 19, Spring 2012 communicative contexts: jazz musicians’ performances and vocal communication between mothers and infants. We present the view that URI: https://id.erudit.org/iderudit/1012655ar musical expression is first and foremost a form of communication, involving DOI: https://doi.org/10.7202/1012655ar socially distributed practices that enable a coordination of ideas, intentions and meanings. We report on studies in developmental psychology that have highlighted infants’ early abilities to connect with others. Synchrony is quite See table of contents possibly the most fundamental of these abilities, enabling flexible and affectionate social encounters. We go on to argue that synchrony grounds meaning and culture within interpersonal processes. Synchrony is, at heart, a Publisher(s) semiotic process which can readily do without language. Revue intermédialités (Presses de l’Université de Montréal) ISSN 1705-8546 (print) 1920-3136 (digital) Explore this journal Cite this article Gratier, M. & Magnier, J. (2012). Sense and Synchrony: Infant Communication and Musical Improvisation. Intermédialités / Intermediality, (19), 45–64. https://doi.org/10.7202/1012655ar Tous droits réservés © Revue Intermédialités, 2012 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. -
Speaking in Tones Music and Language Are Partners in the Brain
Speaking in Tones Music and language are partners in the brain. Our sense of song helps us learn to talk, read and even make friends By Diana Deutsch 36 SCIENTIFIC AMERICAN MIND July/August 2010 © 2010 Scientific American ne afternoon in the summer of opera resembling sung ordinary speech), the cries 1995, a curious incident occurred. of street vendors and some rap music. I was fi ne-tuning my spoken com- And yet for decades the experience of musicians mentary on a CD I was preparing and the casual observer has clashed with scientifi c ) about music and the brain. To de- opinion, which has held that separate areas of the music tect glitches in the recording, I was looping phrases brain govern speech and music. Psychologists, lin- O so that I could hear them over and over. At one point, guists and neuroscientists have recently changed their sheet ( when I was alone in the room, I put one of the phras- tune, however, as sophisticated neuroimaging tech- es, “sometimes behave so strangely,” on a loop, be- niques have helped amass evidence that the brain ar- gan working on something else and forgot about it. eas governing music and language overlap. The latest iStockphoto Suddenly it seemed to me that a strange woman was data show that the two are in fact so intertwined that singing! After glancing around and fi nding nobody an awareness of music is critical to a baby’s language there, I realized that I was hearing my own voice re- development and even helps to cement the bond be- petitively producing this phrase—but now, instead tween infant and mother. -
Connolly .Indd
Matt Connolly Solidification and Flux on the “Gay White Way”: Gay Porn Theaters in Post-Stonewall New York City Abstract This paper traces the exhibition strategies of two gay porn theaters in New York City from 1969-1973: the 55th Street Playhouse and the Eros I. It draws upon contemporaneous advertising and trade press to reconstruct these histories, and does so in the pursuit of two interconnected goals. First, by analyzing two venues whose exhibition protocols shifted over the course of this time period, this paper seeks a more nuanced understanding of how gay porn theaters established, maintained, and augmented their market identities. Second, it attempts to use these shifts to consider more broadly what role exhibition practices played in the shaping of gay men’s experiences within the porn theater itself – a key site of spectatorial, erotic, and social engagement. The 1970s saw the proliferation of theaters in major my conclusions in some ways, but that will also urban centers specializing in the exhibition of gay provide the opportunity to investigate exhibition pornography.1 Buoyed by both seismic shifts in spaces within a city that is central to histories of both LGBT visibility in the wake of the 1969 Stonewall LGBT culture and pornographic exhibition.3 I will riots and larger trends in industry, law, and culture track two Manhattan theaters across this time period that increasingly brought pornography of all stripes to observe what films they screened and how they into the mainstream, these theaters provided a public advertised their releases: the 55th Street Playhouse venue for audiences of primarily gay men to view gay and the Eros I. -
71-1043 ~ M ) O M in the PEOPLE of the STATE ) Ro of NEW YORK, ) ) Respondent
V In the / Supreme Court of tfje ®mtei) States ST C3 SAUL HELLER, ) ■PSJ ) x' .i . r • Petitioner, ) ) T'JO v. ) No. 71-1043 ~ m ) o m in THE PEOPLE OF THE STATE ) ro OF NEW YORK, ) ) Respondent. ) Washington, D. C. November l4, 197? Pages 1 thru 55 / f 8 ‘ f >> °Oo- r r/?7l • s; Duplication or copying of this transcript by photographic, electrostatic or other facsimile means is prohibited under the order form agreement. HOOVER REPORTING COMPANY, INC. Official Reporters Washington, D. C. 5 46-6666 IN TITE SUPREME COURT OP THE UNITED STATES x SAUL HELLER, Petitioner v. No. 71-1043 THE PEOPLE OF THE STATE OF NEW YORK, Respondent. ~ ~ x Washington, D. C. Tuesday, November 14, 1972 The above-entitled matter came on for argument at 1:01 o5 clock p.m. BEFORE: WARREN E. BURGER, Chief Justice of the United States WILLIAM O. DOUGLAS, Associate Justice WILLIAM J. BRENNAN, JR., Associate Justice POTTER STEWART, Associate Justice BYRON R. WHITE, Associate Justice THURGOOD MARSHALL, Associate Justice HARRY A. BLACKMUN, Associate -Justice LEWIS F. POWELL, JR., Associate Justice WILLIAM IT. REFNQUIST, Associate Justice APPEARANCES: IRVING ANOLIK, ESO., 225 Broadway, New York, New York 10007, for the Petitioner. LEWIS R. FRIEDMAN, Assistant District Attorney, 155 Leonard Street, New York, New York-10013, for the Respondent. ORAL ARGUMENT OFs PAGE Irving Anolik, Esq» , For the Petitioner, 3 Lewis Ro Friedman, Esq., For the Respondent. 29 E ?■ 9. 9. E E D I N G s MR. CHIEF JUSTICE BURGER: We will hear arguments next in No. 71-1043, Heller against New York. -
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 -
A Novel Tool for Evaluating Children's Musical Abilities Across Age and Culture
ORIGINAL RESEARCH ARTICLE published: 10 July 2013 SYSTEMS NEUROSCIENCE doi: 10.3389/fnsys.2013.00030 A novel tool for evaluating children’s musical abilities across age and culture Isabelle Peretz 1*, Nathalie Gosselin 1, Yun Nan 2, Emilie Caron-Caplette 1, Sandra E. Trehub 1 and Renée Béland 1 1 Department of Psychology, International Laboratory of Brain, Music, and Sound Research, University of Montreal, Montreal, QC, Canada 2 National Key Laboratory of Cognitive Neuroscience and Learning, School of Brain and Cognitive Sciences, Beijing Normal University, Beijing, China Edited by: The present study introduces a novel tool for assessing musical abilities in children: Jonathan B. Fritz, University of The Montreal Battery of Evaluation of Musical Abilities (MBEMA). The battery, which Maryland, USA comprises tests of memory, scale, contour, interval, and rhythm, was administered to Reviewed by: 245 children in Montreal and 91 in Beijing (Experiment 1), and an abbreviated version was Burak Guclu, Bogazici University, Turkey administered to an additional 85 children in Montreal (in less than 20 min; Experiment 2). Yu Liu, The University of Tennessee All children were 6–8 years of age. Their performance indicated that both versions of the Health Science Center, USA MBEMA are sensitive to individual differences and to musical training. The sensitivity of Anne Caclin, INSERM, France the tests extends to Mandarin-speaking children despite the fact that they show enhanced Bill Thompson, Macquarie University, Australia performance relative to French-speaking children. Because this Chinese advantage is not *Correspondence: limited to musical pitch but extends to rhythm and memory, it is unlikely that it results from Isabelle Peretz, International early exposure to a tonal language.