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http://www.joshuabanksmailman.com/dissertation/abstract/J.Mailman_Dynamic_Form_abstract.pdf
The concept of dynamical form is presented as a dimension of music perception. Dynamical form refers to the subjective perception of temporal events in music (explosive, fading out, rising etc.). In a behavioral experiment listeners were asked to categorize musical excerpts varying in musical period, tonality, instrumentation, and acoustic features while attending to their dynamical form. Data indicates that subjects are sensitive to dynamical forms, but were particularly sensitive to a specific one (suspense). We also discuss a method of categorizing dynamical forms in terms of force dynamics.
Chaos: An Interdisciplinary Journal of Nonlinear Science, 1995
Dynamic perception of Time is the core of present-day scientific attention. In our everyday life there is an important difference between the perception of personal time and time in general. Personal time is always an inner issue, while public time is external and it governs some aspects of our everyday actions. To be a musician and play music implies an original use of Time. By playing music, a musician recreates time in four dimension, space-time in a vertical position and space-time in a horizontal one. Musicians mentally and simultaneously transpose music schemes of the score throughout a continuum temporal space. In the same way, when we listen to western and tonal music, each sound sequence is disposed: a) in linked degrees of consonant or dissonant intervals; b) in a rhythm and a metric pulsation; c) in dynamic sound sequences. All these cognitive activities must be placed and represented in our minds within a temporal continuum. Recent studies have found that listening and playing music implies the usage of cognitive structures in order to decode temporal processes, no matter how our culture or personal experience is. They are four biological cognitive structures: a universal temporal through which we listen, play and love all kinds of music.
Edgerton, M.E., Neubauer, J., Herzel, H. (2003). Nonlinear Phenomena in Contemporary Musical Composition and Performance. Perspectives of New Music, 41:2, 30-65., 2003
"THIS PAPER will first analyze nonlinear phenomena in the production of extra-complex vocal sonorities. Next, it will describe the influence of nonlinear phenomena and the scaling of multidimensional phase space as generating principles for musical composition in three compositions by Michael Edward Edgerton. As will be shown, two broad applications seem to have a particularly robust potential for musical expression. The first involves the use of nonlinear phenomena to effect sound production and gesture across a multidimensional parameter space, while the second application will effect formal development and construction through metaphorical interpretations of differing approaches to nonlinear processes."
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