The Relevance of Husserl's Theory to Language Socialization
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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. -
The History and Usage of the Tuba in Russia
The History and Usage of the Tuba in Russia D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By James Matthew Green, B.A., M.M. Graduate Program in Music The Ohio State University 2015 Document Committee: Professor James Akins, Advisor Professor Joseph Duchi Dr. Margarita Mazo Professor Bruce Henniss ! ! ! ! ! ! ! ! ! ! ! ! Copyright by James Matthew Green 2015 ! ! ! ! ! ! Abstract Beginning with Mikhail Glinka, the tuba has played an important role in Russian music. The generous use of tuba by Russian composers, the pedagogical works of Blazhevich, and the solo works by Lebedev have familiarized tubists with the instrument’s significance in Russia. However, the lack of available information due to restrictions imposed by the Soviet Union has made research on the tuba’s history in Russia limited. The availability of new documents has made it possible to trace the history of the tuba in Russia. The works of several composers and their use of the tuba are examined, along with important pedagogical materials written by Russian teachers. ii Dedicated to my wife, Jillian Green iii Acknowledgments There are many people whose help and expertise was invaluable to the completion of this document. I would like to thank my advisor, professor Jim Akins for helping me grow as a musician, teacher, and person. I would like to thank my committee, professors Joe Duchi, Bruce Henniss, and Dr. Margarita Mazo for their encouragement, advice, and flexibility that helped me immensely during this degree. I am indebted to my wife, Jillian Green, for her persistence for me to finish this document and degree. -
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. -
On Behalf of the Federal Agency of Culture and Cinematography I
ƒÓÓ„Ë ‰ÛÁ¸ˇ! Dear friends! ŒÚ ËÏÂÌË ÃËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ Ë Ï‡ÒÒÓ‚˚ı On behalf of the Ministry of Culture and Mass ÍÓÏÏÛÌË͇ˆËÈ –ÓÒÒËÈÒÍÓÈ ‘‰‡ˆËË Communications of the Russian Federation I ÔË‚ÂÚÒÚ‚Û˛ ‚ÒÂı Û˜‡ÒÚÌËÍÓ‚ Ë „ÓÒÚÂÈ XVIII welcome all participants and visitors of the 18th ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÙÂÒÚË‚‡Îˇ Open Russian Film Festival ´Kinotavrª! ´üËÌÓÚ‡‚ª! This annual event is an integral part of our ≈„Ó ÂÊ„ӉÌÓ Ôӂ‰ÂÌË ˇ‚ΡÂÚÒˇ ÌÂÓÚ˙ÂÏÎÂÏÓÈ State policy on the support of the national ˜‡ÒÚ¸˛ „ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÓÎËÚËÍË ÔÓ ÔÓ‰‰ÂÊÍ cinema. ´Kinotavrª can, without exaggeration, ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÂχÚÓ„‡Ù‡. ´üËÌÓÚ‡‚ª be called the most anticipated event in the ÏÓÊÌÓ ·ÂÁ ÔÂÛ‚Â΢ÂÌˡ ̇Á‚‡Ú¸ Ò‡Ï˚Ï Russian film-season. For the 17 years of its ÓÊˉ‡ÂÏ˚Ï ÒÓ·˚ÚËÂÏ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÒÂÁÓ̇. «‡ existence this main national cinema event has ÒÂÏ̇‰ˆ‡Ú¸ ÎÂÚ Ò‚ÓÂ„Ó ÒÛ˘ÂÒÚ‚Ó‚‡Ìˡ „·‚Ì˚È gained a strong position, both in the Russian ̇ˆËÓ̇θÌ˚È ÍËÌÓÒÏÓÚ Á‡‚Ó‚‡Î ÔÓ˜Ì˚È film world and abroad. ‡‚ÚÓËÚÂÚ, Í‡Í ‚ ÓÒÒËÈÒÍÓÈ The festival is developing fast, becoming more ÍËÌÂχÚÓ„‡Ù˘ÂÒÍÓÈ Ò‰Â, Ú‡Í Ë ‚ Á‡Û·ÂÊÌÓÈ. dynamic and alive, saturated and informative. ‘ÂÒÚË‚‡Î¸ ÒÚÂÏËÚÂθÌÓ ‡Á‚Ë‚‡ÂÚÒˇ, ÒÚ‡ÌÓ‚ˇÒ¸ The success of festival films among Russian ·ÓΠ‰Ë̇Ï˘Ì˚Ï Ë ÊË‚˚Ï, ̇Ò˚˘ÂÌÌ˚Ï Ë audiences once again confirms that there is a ËÌÙÓχÚË‚Ì˚Ï. -
Handbuch Mus K- Psycholog E
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/322339257 Ursprünge der Musik Chapter · January 2018 CITATIONS READS 0 71 1 author: Reinhard Kopiez Hochschule für Musik, Theater und Medien Hannover 134 PUBLICATIONS 2,025 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: Neuromyths in Music Education View project Performance Research View project All content following this page was uploaded by Reinhard Kopiez on 06 August 2018. The user has requested enhancement of the downloaded file. De Muskpsychologe st en fasznerendes Gebet an der Schnttstelle von Psychologe, Muskwssenschaft und Musk pädagogk. Ihre Fragestellungen beschäftgen sch (Hrsg.) bespels wese mt dem Hörverhalten, dem Muszeren und Vermtteln von Musk, der muskalschen Begabung, dem Muskgeschmack oder dem kulturellen Muskgebrauch. Im Handbuch der Muskpsychologe wdmen sch über aus- gewesene Autornnen und Autoren aus den Dszplnen der Psychologe, Muskpädagogk, Muskwssenschaft, Medzn, Neurowssenschaft und Musktherape desen Themen und führen n de neuesten Erkenntnsse hrer Fachgebete en. Lehmann / Kopiez Kopiez / Lehmann Aus dem Inhalt: • Muskkultur und muskalsche Sozalsaton • Muskalsche Entwcklung • Musk und Meden • Muszeren • Grundlagen der Muskwahrnehmung • Emotonale und andere Wrkungen • Forschung Andreas Lehmann Handbuch Reinhard Kopiez (Hrsg.) Mus k- Handbuch psycholog e Hogrefe Verlagsgruppe ISBN 978-3-456-85591-2 Musikpsychologie Göttingen · Bern · Wien · Oxford -
Foundations in Music Psychology
Foundations in Music Psy chol ogy Theory and Research edited by Peter Jason Rentfrow and Daniel J. Levitin The MIT Press Cambridge, Mas sa chu setts London, England © 2019 Mas sa chu setts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. This book was set in Stone Serif by Westchester Publishing Ser vices. Printed and bound in the United States of Amer i ca. Library of Congress Cataloging- in- Publication Data Names: Rentfrow, Peter J. | Levitin, Daniel J. Title: Foundations in music psy chol ogy : theory and research / edited by Peter Jason Rentfrow and Daniel J. Levitin. Description: Cambridge, MA : The MIT Press, 2019. | Includes bibliographical references and index. Identifiers: LCCN 2018018401 | ISBN 9780262039277 (hardcover : alk. paper) Subjects: LCSH: Music— Psychological aspects. | Musical perception. | Musical ability. Classification: LCC ML3830 .F7 2019 | DDC 781.1/1— dc23 LC rec ord available at https:// lccn . loc . gov / 2018018401 10 9 8 7 6 5 4 3 2 1 Contents I Music Perception 1 Pitch: Perception and Neural Coding 3 Andrew J. Oxenham 2 Rhythm 33 Henkjan Honing and Fleur L. Bouwer 3 Perception and Cognition of Musical Timbre 71 Stephen McAdams and Kai Siedenburg 4 Pitch Combinations and Grouping 121 Frank A. Russo 5 Musical Intervals, Scales, and Tunings: Auditory Repre sen ta tions and Neural Codes 149 Peter Cariani II Music Cognition 6 Musical Expectancy 221 Edward W. Large and Ji Chul Kim 7 Musicality across the Lifespan 265 Sandra E. -
Simultaneous Consonance in Music Perception and Composition
Running head: SIMULTANEOUS CONSONANCE 1 Simultaneous Consonance in Music Perception and Composition Peter M. C. Harrison1 & Marcus T. Pearce1,2 1 Cognitive Science Research Group, Queen Mary University of London 2 Center for Music in the Brain, Aarhus University Author Note This article has been peer-reviewed and accepted for publication in Psychological Review. © 2019, American Psychological Association. This paper is not the copy of record and may not exactly replicate the final, authoritative version of the article. Please donot copy or cite without authors’ permission. The final article will be available, upon publication, via its DOI: https://doi.org/10.1037/rev0000169. Correspondence concerning this article should be addressed to Peter M. C. Harrison, School of Electronic Engineering and Computer Science, Queen Mary University of London, E1 4NS. E-mail: [email protected] SIMULTANEOUS CONSONANCE 2 Abstract Simultaneous consonance is a salient perceptual phenomenon corresponding to the perceived pleasantness of simultaneously sounding musical tones. Various competing theories of consonance have been proposed over the centuries, but recently a consensus has developed that simultaneous consonance is primarily driven by harmonicity perception. Here we question this view, substantiating our argument by critically reviewing historic consonance research from a broad variety of disciplines, re-analyzing consonance perception data from four previous behavioral studies representing more than 500 participants, and modeling three Western musical corpora representing more than 100,000 compositions. We conclude that simultaneous consonance is a composite phenomenon that derives in large part from three phenomena: interference, periodicity/harmonicity, and cultural familiarity. We formalize this conclusion with a computational model that predicts a musical chord’s simultaneous consonance from these three features, and release this model in an open-source R package, incon, alongside 15 other computational models also evaluated in this paper. -
Sounds of Science – Schall Im Labor (1800–1930)
MAX-PLANCK-INSTITUT FÜR WISSENSCHAFTSGESCHICHTE Max Planck Institute for the History of Science 2008 PREPRINT 346 Julia Kursell (ed.) Sounds of Science – Schall im Labor (1800–1930) TABLE OF CONTENTS Introductory Remarks Julia Kursell 3 „Erzklang“ oder „missing fundamental“: Kulturgeschichte als Signalanalyse Bernhard Siegert 7 Klangfiguren (a hit in the lab) Peter Szendy 21 Sound Objects Julia Kursell 29 A Cosmos for Pianoforte d’Amore: Some Remarks on “Miniature Estrose” by Marco Stroppa Florian Hoelscher 39 The “Muscle Telephone”: The Undiscovered Start of Audification in the 1870s Florian Dombois 41 Silence in the Laboratory: The History of Soundproof Rooms Henning Schmidgen 47 Cats and People in the Psychoacoustics Lab Jonathan Sterne 63 The Resonance of “Bodiless Entities”: Some Epistemological Remarks on the Radio-Voice Wolfgang Hagen 73 VLF and Musical Aesthetics Douglas Kahn 81 Ästhetik des Signals Daniel Gethmann 89 Producing, Representing, Constructing: Towards a Media-Aesthetic Theory of Action Related to Categories of Experimental Methods Elena Ungeheuer 99 Standardizing Aesthetics: Physicists, Musicians, and Instrument Makers in Nineteenth-Century Germany Myles W. Jackson 113 Introductory Remarks The following collection of papers documents the workshop “Sounds of Science – Schall im Labor, 1800 to 1930,” carried out at the Max Planck Institute for the History of Science, Berlin October 5 to 7, 2006. It was organized within the context of the project “Experimentalization of Life: Configurations between Science, Art, and Technology” situated in Department III of the Institute. While the larger project has discussed topics such as “Experimental Cultures,” the “Materiality of Time Relations in Life Sciences, Art, and Technology (1830-1930),” “Science and the City,” “Relations between the Living and the Lifeless,” and the “Shape of Experiment” in workshops and conferences, this workshop asked about the role sound plays in the configurations among science, technology and the arts, focusing on the years between 1800 and 1930. -
1895. Mille Huit Cent Quatre-Vingt-Quinze, 77 | 2015 [En Ligne], Mis En Ligne Le 01 Décembre 2018, Consulté Le 22 Septembre 2020
1895. Mille huit cent quatre-vingt-quinze Revue de l'association française de recherche sur l'histoire du cinéma 77 | 2015 Varia Édition électronique URL : http://journals.openedition.org/1895/5049 DOI : 10.4000/1895.5049 ISSN : 1960-6176 Éditeur Association française de recherche sur l’histoire du cinéma (AFRHC) Édition imprimée Date de publication : 1 décembre 2015 ISBN : 9782370290779 ISSN : 0769-0959 Référence électronique 1895. Mille huit cent quatre-vingt-quinze, 77 | 2015 [En ligne], mis en ligne le 01 décembre 2018, consulté le 22 septembre 2020. URL : http://journals.openedition.org/1895/5049 ; DOI : https://doi.org/ 10.4000/1895.5049 Ce document a été généré automatiquement le 22 septembre 2020. © AFRHC 1 SOMMAIRE Point de vue La critique cinématographique au Brésil et la question du sous-développement économique : du cinéma muet aux années 1970 Eduardo Morettin et Ismail Xavier Documents Petit cinéma ancien Paulo Emílio Sales Gomes La joie du mauvais film brésilien Paulo Emílio Sales Gomes Une célébration très personnelle Paulo Emílio Sales Gomes, Yeo N’Gana et Sheila Maria dos Santos Études Le Brésil et la construction problématique d’un cinéma national (1896-1954) Gabriela Trujillo Ni dolly, ni dollar – Caméra à la main, décolonisation en tête Lilia Lustosa de Oliveira Le cinéma brésilien moderne et la Biennale de São Paulo Adilson Mendes Archives Glauber Rocha, dessinateur François Albera Sur le tournage de Soy Cuba. Lettres de Sergueï Ouroussevski à son épouse Bella Friedman (1961-1962) Alexei Konovalov Chroniques « Il Cinema ritrovato », Bologne, juillet 2015 Jean-Pierre Bleys, Lorenzo Codelli, Jean Antoine Gili, Pierre-Emmanuel Jaques, Myriam Juan et Lucien Logette 1895.