Conference Program (FINAL)
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Max Neuhaus, R. Murray Schafer, and the Challenges of Noise
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE Megan Elizabeth Murph University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2018.233 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Murph, Megan Elizabeth, "MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE" (2018). Theses and Dissertations--Music. 118. https://uknowledge.uky.edu/music_etds/118 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music 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. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Conducting Studies Conference 2016
Conducting Studies Conference 2016 24th – 26th June St Anne’s College University of Oxford Conducting Studies Conference 2016 24-26 June, St Anne’s College WELCOME It is with great pleasure that we welcome you to St Anne’s College and the Oxford Conducting Institute Conducting Studies Conference 2016. The conference brings together 44 speakers from around the globe presenting on a wide range of topics demonstrating the rich and multifaceted realm of conducting studies. The practice of conducting has significant impact on music-making across a wide variety of ensembles and musical contexts. While professional organizations and educational institutions have worked to develop the field through conducting masterclasses and conferences focused on professional development, and academic researchers have sought to explicate various aspects of conducting through focussed studies, there has yet to be a space where this knowledge has been brought together and explored as a cohesive topic. The OCI Conducting Studies Conference aims to redress this by bringing together practitioners and researchers into productive dialogue, promoting practice as research and raising awareness of the state of research in the field of conducting studies. We hope that this conference will provide a fruitful exchange of ideas and serve as a lightning rod for the further development of conducting studies research. The OCI Conducting Studies Conference Committee, Cayenna Ponchione-Bailey Dr John Traill Dr Benjamin Loeb Dr Anthony Gritten University of Oxford University of -
Working Memory for Pitch, Timbre, and Words
This article was downloaded by: [Barbara Tillmann] On: 08 April 2013, At: 13:10 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Memory Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/pmem20 Working memory for pitch, timbre, and words Katrin Schulze a b & Barbara Tillmann a a Lyon Neuroscience Research Center, Auditory Cognition and Psychoacoustics Team, CNRS UMR5292, INSERM U1028, Université de Lyon, Lyon, France b Developmental Cognitive Neuroscience Unit, UCL Institute of Child Health, London, UK Version of record first published: 01 Nov 2012. To cite this article: Katrin Schulze & Barbara Tillmann (2013): Working memory for pitch, timbre, and words, Memory, 21:3, 377-395 To link to this article: http://dx.doi.org/10.1080/09658211.2012.731070 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and-conditions This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. -
Modularity of Music: Evidence from a Case of Pure Amusia
J Neurol Neurosurg Psychiatry 2000;69:541–545 541 J Neurol Neurosurg Psychiatry: first published as 10.1136/jnnp.69.4.541 on 1 October 2000. Downloaded from SHORT REPORT Modularity of music: evidence from a case of pure amusia Massimo Piccirilli, Tiziana Sciarma, Simona Luzzi Abstract referred to us in December 1997 for the onset A case of pure amusia in a 20 year old left of a sudden and violent left frontotemporal handed non-professional musician is re- headache, which was followed by nausea and ported. The patient showed an impair- vomiting and was associated with a language ment of music abilities in the presence of disorder. The neurological examination per- normal processing of speech and environ- formed at admission showed only aphasia mental sounds. Furthermore, whereas characterised by rare literal paraphasia cor- recognition and production of melodic rected by the patient himself, with impaired sequences were grossly disturbed, both verbal comprehension. Medical history did not the recognition and production of rhythm indicate any noteworthy diseases, with the patterns were preserved. This selective exception of surgery performed when the breakdown pattern was produced by a patient was 3 years old to remove an angioma focal lesion in the left superior temporal from the pulp of the second finger on his left gyrus. This case thus suggests that not hand. only linguistic and musical skills, but also An emergency cerebral CT showed a left melodic and rhythmic processing are temporal haematoma with a maximum diam- independent of each other. This func- eter of 4.5 cm, surrounded by perilesional tional dissociation in the musical domain oedema. -
Andreas Bergsland and Robert Wechsler Turning Movement Into Music
Andreas Bergsland and Robert Wechsler Turning movement into music – issues and applications of the MotionComposer, a therapeutic device for persons with different abilities Andreas Bergsland Associate professor Department of music Norwegian University of Science and Technology Robert Wechsler Project Leader MotionComposer Artistic Director Palinedrome Dance Company www.soundeffects.dk SoundEffects | vol. 6 | no. 1 | 2016 issn 1904-500X Bergsland and Wechsler: Turning movement into music SoundEffects | vol. 6 | no. 1 | 2016 Abstract The article discusses the ways in which the MotionComposer (MC), a newly developed device that turns movement into music, engages users with different abilities,1 so as to provide posi- tive psychological and somatic effects. It begins with a case study – the story of one applica- tion of the device involving a young man with cerebral palsy. His experiences are typical of many others and provide some useful generalisations. The article then discusses a number of goals and related design principles that have been important in the development of the device, including a discussion of two confl icting strategies which must be reconciled: On the one hand, there is a need for clear causality. On the other hand, for such a device to remain interesting over time, there is a need for variation. A technical description of the hardware and software is given, followed by a discussion of general mapping issues pertaining to the different sound environments or interaction modes of the MC. Introduction 12-year-old Adam has just arrived with his mother. His assistant is accompanying them and has been helpful in getting Adam and his wheelchair out of the car. -
The Perception of Movement Through Musical Sound: Towards A
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 7-10-2013 The eP rception of Movement through Musical Sound: Towards a Dynamical Systems Theory of Music Performance Alexander P. Demos University of Connecticut, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Demos, Alexander P., "The eP rception of Movement through Musical Sound: Towards a Dynamical Systems Theory of Music Performance" (2013). Doctoral Dissertations. 155. https://opencommons.uconn.edu/dissertations/155 The Perception of Movement through Musical Sound: Towards a Dynamical Systems Theory of Music Performance Alexander Pantelis Demos, PhD University of Connecticut, 2013 Performers’ ancillary body movements, which are generally thought to support sound- production, appear to be related to musical structure and musical expression. Uncovering systematic relationships has, however, been difficult. Researchers have used the framework of embodied gestures, adapted from language research, to categorize and analyze performer’s movements. I have taken a different approach, conceptualizing ancillary movements as continuous actions in space-time within a dynamical systems framework. The framework predicts that the movements of the performer will be complexly, but systematically, related to the musical movement and that listeners will be able to hear both the metaphorical motion implied by the musical structure and the real movements of the performer. In three experiments, I adapted a set of statistical, time-series, and dynamical systems tools to music performance research to examine these predictions. In Experiment 1, I used force plate measurements to examine the postural sway of two trombonists playing two solo pieces with different musical structures in different expressive styles (normal, expressive, non-expressive). -
Neuromusical Research: an Overview of the Literature
In: Neurosciences in Music Pedagogy ISBN: 978-1-60021-834-7 Editors: W. Gruhn and F. Rauscher, pp. 1-25 © 2007 Nova Science Publishers, Inc. Chapter I NEUROMUSICAL RESEARCH: AN OVERVIEW OF THE LITERATURE Richard D. Edwards and Donald A. Hodges ABSTRACT With growing interest in the neuroscience of music among both neuroscientists and music educators, the task of reviewing the extant neuromusical research has become more exciting, if not a bit more complicated due to the diversity of topics and the increasing number of available studies. We provide an overview of neuromusical research by discussing its historical foundations (especially with the advancements of imaging technologies), support from ancillary areas (anthropology, ethnomusicology, ethology, and music psychology), support from fetal and infant responses to music, and support from studies of special musicians (prodigies, savants, Williams Syndrome musicians, and Alzheimer’s patients). The main section presents findings and implications from recent neuroimaging studies by dividing the research into five categories: (1) Perception and Cognition, (2) Affective Responses, (3) Musical Performance, (4) Learning, and (5) Genetic Factors. Several broad conclusions regarding the state of human musicality are presented in the concluding section. Among these conclusions, perhaps the most valuable evidence that neuromusical research currently holds for educators is that musicality is a birthright of all people and that music processing is inherent to some degree in all humans. Humanity has long wondered about the mind. Before Descartes proposed “I think, therefore, I am” or even before Plato and Aristotle ever contemplated the psyche, the oldest brain map on record was being drawn upon papyrus in Egypt almost 5,000 years ago1. -
A Taxonomy of the Effects and Affects of Surface-Level Metric Dissonance" (2007)
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 A taxonomy of the effects and affects of surface- level metric dissonance Jennifer Rae Shirley Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Music Commons Recommended Citation Shirley, Jennifer Rae, "A taxonomy of the effects and affects of surface-level metric dissonance" (2007). LSU Master's Theses. 3937. https://digitalcommons.lsu.edu/gradschool_theses/3937 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A TAXONOMY OF THE LOCAL EFFECTS AND AFFECTS OF SURFACE-LEVEL METRIC DISSONANCE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The School of Music by Jennifer Rae Shirley B.M., Eastern Michigan University, 2003 December 2007 ACKNOWLEDGEMENTS First and foremost, my utmost appreciation goes to those who served on my committee: To Dr. Samuel Ng, my committee chair, for your time and immeasurably valuable input throughout the entire process. To Dr. Jeffrey Perry, for not abandoning me when I abandoned a year of work and for all of your time and valuable insight. To Dr. Jan Herlinger, for serving on my committee and being a ubiquitous inspiration throughout this project. -
To Test the Program in Classrooms. Methods Included A
DOCUMENT RESUME ED 025 530 24 TE 499 967 By-Gould A. Oren Developing Specialized Programs for Singing in theElementary School. Final Report. Spons Agency-Office of Education (MEW). Washington.D.C. Bureau of Research Bureau No- BR- 5-0241 Pub Date Aug 68 Contract- OEC- 6-10-016 Note-106p. EDRS Price MF-$0.50 HC-$5.40 Descriptors-Case Studies (Education), Choral Music,Educational Research. *ElementaryEducation. Elementary School Students, Instructional Improvement,Instructional Materials, Music, Music Activities,*Music Education. Music Techniques, Pilot Proiects, *Remedial InstructiorRemedial Programs, *Singing, Surveys.*Teaching Techniques, Vocal Music The obiectives of this research into waysof helping children who havedifficulty finding and using their singing voices were(1) to make an intensive studyof singing difficulties of elementary-school children,(2) to discover, observe,and analyze successful techniques and materialsfor use with children who have notlearned to "carry a tune," (3) to develop a Lequentialremedial program for problem singers,and (4) to test the program in classrooms.Methods included a nationwide surveyof singing problems amongelementary-school children and the testingof corrective techniques and materials in the WesternIllinois University LaboratorySchool and in selected public schools. Results establishedthe importance of kinestheticfactors in discovering and developing the singing voice:the child must identify his singingvoice as opposed tohis speaking voice, and he mustlearn the sound andfeeling of his voice as it matches pitchesthat he hears. (The appendicesinclude copies of the used survey questions,of a test of sinding ability, and ofspecific corrective materials in the study.) (JS) sof 5----$07/1 Pg 491 FINAL REPORT Project No. 5-0241 Contract No. -
Relative Pitch and L2 Lexical Tone Perception/Tone Language Comprehension by Adult Tone
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Is It All Relative? Relative Pitch and L2 Lexical Tone Perception/ Tone Language Comprehension by Adult Tone and Non-Tone Language Speakers Sloane C. von Wertz The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2247 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] IS IT ALL RELATIVE? RELATIVE PITCH AND L2 LEXICAL TONE PERCEPTION/TONE LANGUAGE COMPREHENSION BY ADULT TONE AND NON-TONE LANGUAGE SPEAKERS by SLOANE CELESTE VON WERTZ A dissertation submitted to the Graduate Faculty in Linguistics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 © 2017 SLOANE CELESTE VON WERTZ All Rights Reserved ii Is It All Relative? Relative Pitch and L2 Lexical Tone Perception/Tone Language Comprehension by Adult Tone and Non-Tone Language Speakers by Sloane Celeste von Wertz This manuscript has been read and accepted for the Graduate Faculty in Linguistics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Gita Martohardjono Chair of Examining Committee Date Gita Martohardjono Executive Officer Supervisory Committee: Gita Martohardjono Andrew Rosenberg Joseph Straus THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Is It All Relative? Relative Pitch and L2 Lexical Tone Perception/Tone Language Comprehension by Adult Tone and Non-Tone Language Speakers by Sloane Celeste von Wertz Advisor: Professor Gita Martohardjono Languages generally use musical pitch variation of the voice as part of their sound systems (Maddieson, 2011)—pitch variations that can be somewhat reminiscent of music. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Com pany 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 95052S0 An exploratory examination of the electroencephalographic correlates of aural imagery, kinesthetic imagery, music listening, and motor movement by novice and expert conductors Jackson, Elizabeth Helene, Ph.D. -
Communicating Musical Knowledge Through Gesture: Piano Teachers’ Gestural Behaviours Across Different Levels of Student Proficiency
Communicating musical knowledge through gesture: Piano teachers’ gestural behaviours across different levels of student proficiency Simones, L. L., Rodger, M., & Schroeder, F. (2015). Communicating musical knowledge through gesture: Piano teachers’ gestural behaviours across different levels of student proficiency. Psychology of Music, 43 (5 ), 723- 735. https://doi.org/10.1177/0305735614535830 Published in: Psychology of Music Document Version: Peer reviewed version Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights Copyright 2015 The Authors General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:02. Oct. 2021 Communicating musical knowledge through gesture: piano teachers’ gestural behaviours across different levels of student proficiency Version 3 The final, definitive version of this paper (Version 4) has been published in Psychology of Music, Psychology of Music, 43 (5): 723-735, September/2015 by SAGE Publications Ltd, All rights reserved. ©[Lilian Simones, Matthew Rodger, Franziska Schroeder] 2 Anonymous main document Communicating musical knowledge through gesture: piano teachers’ gestural behaviours across different levels of student proficiency Abstract Teachers’ communication of musical knowledge through physical gesture represents a valuable pedagogical field in need of investigation.