Experimental research into musical generative ability

Sági, Maria; Vitányl, Iván

doi:10.1093/acprof:oso/9780198508465.003.0008

Cited by 4 publications

(3 citation statements)

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“…There is, further, a distinction to be drawn between combinatorial and creative emergence , the former referring to the novelty that results from fresh combinations of pre-existing elements [ 69 , 71 ], and the latter to “ de novo ” creations of new kinds of elements [ 72 ]. The distinction, however, is gradual rather than qualitative.…”

Section: From Sound To Music: Discretization and Semanticitymentioning

confidence: 99%

Music as Environment: An Ecological and Biosemiotic Approach

Reybrouck

2014

Behavioral Sciences

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This paper provides an attempt to conceive of music in terms of a sounding environment. Starting from a definition of music as a collection of vibrational events, it introduces the distinction between discrete-symbolic representations as against analog-continuous representations of the sounds. The former makes it possible to conceive of music in terms of a Humboldt system, the latter in terms of an experiential approach. Both approaches, further, are not opposed to each other, but are complementary to some extent. There is, however, a distinction to be drawn between the bottom-up approach to auditory processing of environmental sounds and music, which is continuous and proceeding in real time, as against the top-down approach, which is proceeding at a level of mental representation by applying discrete symbolic labels to vibrational events. The distinction is discussed against the background of phylogenetic and ontogenetic claims, with a major focus on the innate auditory capabilities of the fetus and neonate and the gradual evolution from mere sensory perception of sound to sense-making and musical meaning. The latter, finally, is elaborated on the basis of the operational concepts of affordance and functional tone, thus bringing together some older contributions from ecology and biosemiotics.

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Section: From Sound To Music: Discretization and Semanticitymentioning

confidence: 99%

Music as Environment: An Ecological and Biosemiotic Approach

Reybrouck

2014

Behavioral Sciences

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“…The implications here are wide-reaching and, within my own work, I have taken up Cone's suggestion in developing analytical tools and techniques that are not (or not merely) score-based, pursuits that have been especially fruitful in the analysis of sexual "expression" and meaning derived from electroacoustic music, which usually has no score at all. 19 15 Sági/Vitányi 1988, 193-194. 16 Meyer-Eppler 1968 17 Cone 1960. 18 Babbitt 1958.…”

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Specters of Sex. Tracing the Tools and Techniques of Contemporary Music Analysis

Sofer¹

2020

ZGMTH

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Music has often served as a vehicle for sexual expression. But within a musical context saturated with many sonic phenomena, music-analytical tools can be limited in their ability to pinpoint evidence of sex acts, pleasure, or satisfaction. Centering on sonic experience and perception, this article challenges the common trope of the disembodied and disinterested music theorist by proposing that, rather than neglecting sexual discourses, like-minded music theorists have instead established a veritable field founded on the commonly-held belief that sex and music are (in some cases) interchangeable. The article proposes that the meta-theorization of these engagements constitutes a discursive "social epistemology" thereby positioning such diverse contributions as part of the core music-theoretical "standard" of what was once called "mainstream music theory." Musik hat oft als Mittel für sexuellen Ausdruck gedient. Doch können musikanalytische Werkzeuge innerhalb eines musikalischen Kontexts, der von einer Vielzahl an Klangphänomenen erfüllt ist, in ihrer Fähigkeit eingeschränkt sein, sexuelle Handlungen, Genuss oder Befriedigung festzumachen. Dieser Artikel untersucht, fokussiert auf das Erleben und Wahrnehmen von Klängen, sexuell inspirierte Musik und vergleicht sie mit erfahrungsorientiertem sexuell-verkörperten Schreiben über Musik. Durch eine Auseinandersetzung mit analytischen Ansätzen zu musikalisch-sexuellem Engagement, zeigt der Artikel auf, dass Musiktheoretiker*innen Diskurse über Sexualität kaum vernachlässigt haben, und hinterfragt so das Stereotyp des körper-und interesselosen Musiktheoretikers. Gleichgesinnte Theoretiker*innen haben hingegen einen Forschungsbereich entwickelt, der auf der Überzeugung basiert, dass Sex und Musik (in manchen Fällen) austauschbar sind. Der Artikel verdeutlicht, dass die Entwicklung einer Metatheorie für dieses Engagement eine diskursive "soziale Erkenntnistheorie" konstituiert. Damit erweitert der Artikel diese vielfältigen Beiträge und positioniert sie als Teil des Kerns musiktheoretischer "Standards" innerhalb der einst sogenannten "mainstream music theory".

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“…(4) [5] There have been few cognition experiments that involve improvisation, but one study conducted in Hungary in the 1970s does suggest that improvisation can be a good test of performers' understanding of musical structure. (5) Researchers Maria Sagi and Ivan Vitanyi asked non-musicians to perform several tasks, including improvising melodies over chord progressions and improvising continuations of melodic fragments. They found that the non-musicians were good at improvising when the given chord progressions or melodic fragments were familiar.…”

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confidence: 99%

Post-Tonal Improvisation in the Aural Skills Classroom

Silberman

2003

MTO

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This paper presents an improvisation-based approach for teaching students to hear and understand aspects of twentieth-century music. The improvisation exercises are based on concepts taken from eight commonly used twentieth-century music textbooks. The paper ends with analyses of improvisations created by two undergraduates who were trained in the author’s method. Recordings and transcriptions of these improvisations are included.

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Experimental research into musical generative ability

Cited by 4 publications

References 0 publications

Music as Environment: An Ecological and Biosemiotic Approach

Music as Environment: An Ecological and Biosemiotic Approach

Specters of Sex. Tracing the Tools and Techniques of Contemporary Music Analysis

Post-Tonal Improvisation in the Aural Skills Classroom

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