Levels of structure in the organization of musical time

Clarke, Eric

doi:10.1080/07494468708567059

Cited by 44 publications

(32 citation statements)

References 20 publications

(25 reference statements)

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“…According to him, listening to music only requires one to be focused on the present with the exclusion of any attempt at recollection or anticipation. From a psychological point of view, listeners would thus perceive incoming events through a short temporal window that slides along the event stream (Bigand, 1993;Clarke, 1987;Fraisse, 1957;Michon, 1977). The size of a temporal window (referred to as the "perceptual present" in Fraisse and as "quasi hearing" in Levinson) is constrained by several factors, but its maximal duration is considered to vary between 5 s (Fraisse) and 8 s (Michon) to 10 s (Clarke) or even 30 s (Levinson).…”

Section: Cognitive Psychological Approaches the Perceptual Presentmentioning

confidence: 99%

The Perceptual Structure of Thematic Materials in The Angel of Death

et al. 2004

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The perceptual structure of the five themes of Roger Reynolds's The Angel of Death was investigated. We studied how listeners follow the musical progression of each theme and whether or not they perceive the temporal implications. In the first phase, participants performed three tasks on the full themes, one of which consisted of segmenting the musical ideas online. In the second phase, participants were presented with pairs of excerpts from the themes, judged whether both belonged to the same theme, and if they did which one occurred first in the theme. Participants' segmentations corresponded to surface discontinuities in places, but were strongly influenced by the rhetorical structure of the themes in others. Listeners (particularly nonmusicians) encountered difficulties when they were required to perform more abstract tasks out of the musical context such as the belongingness judgment, which depended on surface similarities, and the temporal-order judgment, which depended on previous hearing of the full themes.

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Section: Cognitive Psychological Approaches the Perceptual Presentmentioning

confidence: 99%

The Perceptual Structure of Thematic Materials in The Angel of Death

et al. 2004

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“…Il s'agit là de règles d'interprétation communes aux interprètes, qui soulignent les micro-structures spécifiques et reproductibles du contenu musical [Juslin 2000]. Grâce à ces principes génératifs de l'expressivité, une représentation mentale de la structure musicale peut être encodée au travers des gestes de l'instrumentiste et facilement décodée par l'auditeur [Clarke 1987, Clarke 1988, Clarke 1989]. On touche ici du doigt la notion de cognition musicale incarnée (musical embodied cognition) que nous expliciterons davantage à la section 2.5.2.…”

Section: Les Variations Dues à La Structure Musicaleunclassified

The influence of cellist's postural movements on their musical expressivity

Roze

Aramaki

Kronland‐Martinet

et al. 2017

The Journal of the Acoustical Society of America

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RemerciementsAvant de présenter ce travail de thèse, je souhaiterais remercier toutes les personnes ayant contribué de près ou de loin à la réalisation de ce projet. A commencer par mes parents pour leur soutien indéfectible, qui ont toujours su garder foi en moi malgré des choix de vie différents de leurs prévisions. Merci aussi à Pascal Gobin, professeur d'électroacoustique au conservatoire de Marseille, sans qui je n'aurais jamais eu connaissance des opportunités de recherche en acoustique instrumentale. Cela faisait longtemps en effet que je nourrissais l'envie de pouvoir mettre mes compétences scientifiques au service d'un instrument de musique devenu ma passion depuis huit ans maintenant : le violoncelle. L'opportunité m'en a été donnée grâce à l'équipe très chaleureuse de chercheurs qui m'ont accueilli et fait confiance pour entreprendre ce projet de thèse : ma directrice de thèse tout d'abord, Sølvi, dont la bonne humeur et patience à mon égard ont toujours été d'un grand soutien, surtout dans les périodes initiales et finales de la thèse... Richard ensuite, dont l'expérience et la justesse de raisonnement, m'ont bien souvent laissé admiratif. Et bien sûr Mitsuko dont les capacités d'écoute réactive et les point de vue avisés m'ont énormément apporté, notamment lors de la rédaction des articles scientifiques. Merci vraiment à cette équipe de trois encadrants aux grandes qualités humaines, pour être si investis, passionnés et ouverts sur les autres. A propos de qualité humaine, j'adresse un remerciement tout particulier à Pascal Campion de l'école doctorale ED353, pour son excellente écoute, ses précieux conseils et sa compréhension des fragilités individuelles.

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“…In that sense, the musical score is a better representation of rhythmic patterns as it represents exactly those perceived categories instead of the absolute and accurate timing of notes. While the IOIs are perceived as belonging to discrete categories, such as the note durations of a musical score, continuous time changes and deviations from the canonical version of those categories are usually understood at a different structural level as tempo changes and expressive timing (Clarke, 1987b). Rhythmic patterns with slight variations in the actual IOIs are considered as being the same pattern of durations performed, perhaps, with a different "feel" such as "laid-back" (Desain & Honing, 2003).…”

Section: From Sound To Categoriesmentioning

confidence: 99%

“…The listener essentially interprets a rhythm by constructing a metrical context. Meter is, therefore, subjective and may differ between listeners (Clarke, 1987a(Clarke, , 1987bFraisse, 1982;Parncutt, 1994).…”

Section: Rhythm Meter Syncopationmentioning

confidence: 99%

Syncopation as Transformation

Sioros

Guedes

2014

Lecture Notes in Computer Science

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Abstract:Syncopation is a rhythmic phenomenon present in various musical styles and cultures. I present in this dissertation a set of simple rhythmic transformations that can serve as a formalized model for syncopation for the purposes of generation and analysis of music. The transformations are based on fundamental features of the musical meter and syncopation, as seen from a cognitive and a musical perspective. Based on this model, rhythmic patterns can be organized in tree structures where patterns are interconnected through simple transformations. The model was applied in the design of three listening experiments that explore the relation between syncopation and groove, i.e. the sensation of wanting to move when listening to music. A software plugin is presented as an application of the model.It manipulates the syncopation of audio and MIDI "clips" by automatically de-syncopating and syncopating its content.ii Resumo:Síncopa é um fenómeno rítmico presente em várias culturas e estilos musicais. Nesta dissertação, eu apresento um conjunto de transformações rítmicas simples que constituem um modelo formalizado da síncopa para fins de geração e análise de música. As transformações são baseadas em características fundamentais do compasso musical e síncopa vistos de um ponto de vista cognitivo e musical. Com base neste modelo, padrões rítmicos podem ser organizados em estruturas de árvore (tree structures) onde os padrões são interligados através de transformações simples. O modelo foi aplicado no projeto de três experiências de escuta que exploram a relação entre síncopa e "groove", ou seja, a sensação de querer mover quando ouvir música. Um plugin é apresentado como uma aplicação do modelo que manipula a síncopa de MIDI e áudio "clips" automaticamente.iii

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Levels of structure in the organization of musical time

Cited by 44 publications

References 20 publications

The Perceptual Structure of Thematic Materials in The Angel of Death

The Perceptual Structure of Thematic Materials in The Angel of Death

The influence of cellist's postural movements on their musical expressivity

Syncopation as Transformation

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