Nine Modes of Listening to Music

2018 ◽  
Vol 37 (1-2) ◽  
pp. 51-60
Author(s):  
Lucia Santaella
Keyword(s):  
Social Context ◽  
Electroacoustic Music ◽  
Broad Sense ◽  
Musical Composition ◽  
Concrete Music ◽  
Historical Periods

Listening has become a major issue of musical composition from the middle of last century on, since Pierre Schaeffer inaugurated with concrete music one of the trends of what would be established under the name of electroacoustic music. The classification of the modes of listening to music that will be presented in this paper is not concerned with the chronological study of listening by means of musical examples from historical periods and their respective social context. As my classification aims at the processes of reception and in a broad sense, I found its foundation in the different interpretative levels formulated by Peirce in his classification of the interpretants.

scholarly journals Comparisons of mean length-based mortality estimators and age-structured models for six southeastern US stocks

2019 ◽  
Author(s):  
Quang C Huynh ◽  
Nancie J Cummings ◽  
John M Hoenig
Keyword(s):  
Alternative Assessment ◽  
Southeastern United States ◽  
Fishing Mortality ◽  
High Agreement ◽  
Southeastern Us ◽  
Age Structured ◽  
Age Structured Model ◽  
Historical Periods ◽  
Mortality Estimates

Abstract Length-based mortality estimators have been developed as alternative assessment methods for data-limited stocks. We compared mortality estimates from three methodologically related mean length-based methods to those from an age-structured model (ASM). We estimated fishing mortality and determined overfishing status, i.e. if F/FMSY > 1, for six stocks which support important recreational and commercial fisheries in the southeastern United States. The similarities in historical fishing mortality between the length-based methods and the most recent assessments varied among the case studies, but the classification of overfishing status in the terminal year did not differ based on the choice of model for all six stocks. There was also high agreement in the number of overfishing years within different historical periods. Applications of length-based methods can be consistent with the results that might be obtained from an ASM. In one case, diagnostics were used to identify the problems with the length-based estimators. The potential for determining overfishing status from these methods can encourage data collection programmes for unassessed stocks.

Analysis of Granular Acousmatic Music: Representation of sound flux and emergence

2019 ◽  
Vol 24 (02) ◽  
pp. 205-216 ◽  
Author(s):  
Danilo Rossetti ◽  
Jônatas Manzolli
Keyword(s):  
Graphical Representation ◽  
Electroacoustic Music ◽  
Musical Composition ◽  
Technological Equipment ◽  
Analytical Methodology ◽  
Iannis Xenakis ◽  
Audio Recordings ◽  
Acousmatic Music ◽  
Music Representation ◽  
Sound Spectrum

Analysing electroacoustic music is a challenging task that can be approached by different strategies. In the last few decades, newly emerging computer environments have enabled analysts to examine the sound spectrum content in greater detail. This has resulted in new graphical representation of features extracted from audio recordings. In this article, we propose the use of representations from complex dynamical systems such as phase space graphics in musical analysis to reveal emergent timbre features in granular technique-based acousmatic music. It is known that granular techniques applied to musical composition generate considerable sound flux, regardless of the adopted procedures and available technological equipment. We investigate points of convergence between different aesthetics of the so-called Granular Paradigm in electroacoustic music, and consider compositions employing different methods and techniques. We analyse three works: Concret PH (1958) by Iannis Xenakis, Riverrun (1986) by Barry Truax, and Schall (1996) by Horacio Vaggione. In our analytical methodology, we apply such concepts as volume and emergence, as well as their graphical representation to the pieces. In conclusion we compare our results and discuss how they relate to the three composers’ specific procedures creating sound flux as well as to their compositional epistemologies and ontologies.

Towards a Hybrid Temporal Paradigm for Musical Composition and Performance: The Case of Musical Interpretation

2013 ◽  
Vol 37 (2) ◽  
pp. 61-72 ◽  
Author(s):  
Myriam Desainte-Catherine ◽  
Antoine Allombert ◽  
Gérard Assayag
Keyword(s):  
Theoretical Study ◽  
Electroacoustic Music ◽  
Musical Composition ◽  
Temporal Aspects ◽  
Musical Interpretation ◽  
And Performance

In this article, we consider the possibility of mixing two main paradigms of electroacoustic music: the writing-oriented and the performance-oriented paradigms. We show that these two opposing paradigms are the consequence of two corresponding conceptions of time. In addition, we assume that the temporal aspects of a performer's interpretation of a musical composition can be linked to both paradigms. Based on this theoretical study, we propose a formalism for composing pieces of electroacoustic music that can be interpreted in performance.

Étienne Geoffroy Saint-Hilaire, Richard Owen and monotreme oviparity.

2019 ◽  
Vol 40 (2) ◽  
pp. 272-289 ◽  
Author(s):  
Stewart Nicol
Keyword(s):  
Nineteenth Century ◽  
Social Context ◽  
Egg Laying ◽  
Social Classes ◽  
The Social ◽  
Late Eighteenth ◽  
Richard Owen ◽  
Initial Description ◽  
Social Conservatives

Most biologists, particularly Australian biologists, are aware that the initial description and attempts to classify the echidna and platypus were surrounded by controversy. Fewer are aware of the important roles played by two eminent scientists, Étienne Geoffroy Saint-Hilaire in Paris and Richard Owen in London, in the debate as to whether the platypus and echidna were really mammals, and whether they laid eggs. Geoffroy argued that they were egg-laying but could not possibly lactate; Owen argued that they lactated but could not possibly lay eggs. Because of these and many other aspects of their biology, monotremes featured prominently in debates about classification of animals and the transmutation of species, and involved many important scientists of the time. These arguments can only be understood in the context of the development of science in the late eighteenth and the nineteenth century, and how that was influenced by the social context. Early ideas of evolution, or transformism, were attractive to radical thinkers, whereas social conservatives were anxious to show that the boundaries between types of animals, just like the boundaries between social classes, were erected by God and could not be crossed.

scholarly journals Study and Classification of Tombstones of the Safavid Period (Ardabil City)

2020 ◽  
Vol 7 (1) ◽  
pp. 77-92
Author(s):  
Maryam Samari ◽  
Reza Rezalou
Keyword(s):  
Field Study ◽  
Islamic Period ◽  
The Past ◽  
The Status ◽  
Historical Periods

Ardabil, now known as one of the provinces of the country, has been one of the oldest and ancient cities in various historical periods, including Islam. This province comes to the end of the majesty and power during the reign of Safavid. Tombstone is among the heritage of the past that reflects culture and civilization. The existence of a tombstone on the tombs of Islamic period has always been observed in all parts of Iran. Though this issue exists in most cultures, it has always been considered by Muslims as an indicator of burial in the culture of the Islamic era and of Iran. The purpose of this research is to identify and study tombstone in the relevant area during the Safavid period. According to the results, the status of Shia religion can be clearly seen in all the tombstones of the Safavid period of Ardabil. In fact, it can be said that the combination of art and belief has caused the tombs of stone to be of particular importance and variety, and the line drawn on them represents the beliefs and cultures, as well as the scope of the literature of this region. Most of the designs include Islamic designs, flowers and leaves, animal designs and Quranic verses. The method used in this study is based on field study

scholarly journals CLASSIFICATION OF CONTENTS OF GEOSCIENSE IN SECONDARY CURRICULA IN GREECE, 1830 -2015

2017 ◽  
Vol 50 (1) ◽  
pp. 238
Author(s):  
K. Makri ◽  
S. Pavlides
Keyword(s):  
Secondary Education ◽  
Social Context ◽  
Social Interactions ◽  
Educational Systems ◽  
Educational Changes

The educational systems are evolving dynamically reflecting social and economical changes. The Geology has developed and evolved in Greece, based on specific economic and social interactions. This paper attempts to define and interpret the position of the teaching of geosciences in Greek Secondary Education, from 1830 until today, with reference to the educational changes and their historical and social context.

scholarly journals Expanding or limiting the boundaries of the “allowable”: to the problem of outlining the concept of “religious art”

2020 ◽  
pp. 76-88
Author(s):  
Dmitrii Aleksandrovich Golovushkin ◽  
Irina Ravkatovna Gumarova
Keyword(s):  
Broad Sense ◽  
Religious Art ◽  
Narrow Sense ◽  
Religious Worldview ◽  
History Of Art ◽  
History Of ◽  
Definition Of ◽  
Historical Periods ◽  
Terminological Confusion

Religious art is one of the most complex and controversial phenomena in the history of art. The attempts to conceptualize this phenomenon are relatively recent, and are carried out mostly in the context of the existence of confessional, ecclesiastical/nonecclesiastical, cult/atheistic art. Therefore, religious art within the Russian humanities traditionally receives ambivalent interpretation. In a narrow sense, religious art implies a combination of artworks with dogmatic, doctrinal, and liturgical meaning. In a broad sense, religious art represents a set artworks that reveal religious themes from ideological and figurative perspectives, reflect religious worldview, faith and experience, but do not carry sacred statues, nor intended for reverence, worship, liturgical practices.  The author concludes that neither definition describes the distinctness and novelty of the religious art. The appropriate interpretation describes religious art as d both, ecclesiastical/non-ecclesiastical and cult / atheistic art. This leads to a terminological confusion, and doubts the need for introducing the concept of “religious art” and the phenomenon itself. The key towards understanding this phenomenon and a new definition of the concept of “religious art” can be their context – the European and Russian secularization. It is not coincidental that the first was addressed, and the second was deliberately formulated at the turn of the XIX – XX centuries. Religious art mainstreams during the historical periods when the boundaries of secularization/religion become flexible, initiating struggle for them.

scholarly journals TIMBRE IN MUSIC: PROBLEMS OF DEFINITION

2020 ◽  
Vol 11 (87) ◽  
Author(s):  
Dmytro Reshetnik ◽  
Keyword(s):  
Electronic Music ◽  
Comparative Method ◽  
Electroacoustic Music ◽  
Musical Composition ◽  
Musical Work ◽  
Computer Study ◽  
Musical Acoustics ◽  
Powerful Stimulus ◽  
Definition Of ◽  
Made In

The purpose of the study is to substantiate the possible approaches to the definition of the concept of "timbre", as well as to establish possible options for its definition, which were derived in modern musicology. It is established that timbre, timbre, as a key characteristic of sound, is one of the leading means of expression in the art of music. The dynamic development of the system of musical means of expression in the compositional practice of the twentieth century (both in electronic and acoustic music) has reduced the issue of timbre to a number of important topics in the creation of the theory of modern musical composition. The general spirit of experimentation and the active search for new approaches to sound have led to a significant change in the attitude of composers of the late XX – early XXI century to the sound organization of works. Therefore, the analysis and study of the basics of the specifics of musical timbres and the principles of their psychological perception has become an extremely important task for music science. It is established that today in science a huge amount of material has been accumulated, which indirectly or directly affects the properties and specifics of the musical timbre. A great contribution to the development of the problem of timbre was made in both musicology and musical acoustics. But the most intense advances in the study of timbre have taken place in musical psychoacoustics, especially in the field of electronic music. It was the search for electronic and then electroacoustic music that became a powerful stimulus for the computer study of the nature of the timbre. Practical tasks set by composers in the late 50's – early 60's in the field of electronic synthesis, raised the question of identifying objective and subjective parameters of sound, and therefore timbre, in a number of pressing issues of musical acoustics. Also with the help of the comparative method it was found that in music science it is permissible to complement "acoustic" and "musicological" definitions of the term "timbre", but "acoustic" will always be broader, and "musicological" – more accurate. Since musicological definitions of timbre (in addition to importance for timbre theory) are of great importance for the conceptual apparatus of music theory and professional generalization, ie allow to state the phonetic, phonological and articulatory side of a musical work and its performance.

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