Music, Meaning, and Music Therapy under the Light of the Molino/Nattiez Tripartite Model

Barcellos, Lia Rejane Mendes

doi:10.15845/voices.v12i3.677

Cited by 3 publications

(6 citation statements)

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“…In other words, sound recognition affects our listening experience. The relationship between listening style and the musical language is of great importance for the analysis of electroacoustic music 1 .…”

Section: Misak C J (2004) Truth and The End Of Inquiry: A Peircean Ac...mentioning

confidence: 99%

“…Meaning is often drastically abstracted to minimal naming audio, which describes everything that can be heard and touched by the mind and hands of the creator. For example, the pioneer of electronic glitch music, Markus Popp, states, "I don't usually use the term music, I usually say audio" 1 .…”

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confidence: 99%

“…When we look at an object, we are participants in an abstract process in which we contextualize the object and give it perspective by defining the qualitative properties of the latter. This is perceptual 1 Pragmatics examines language in the context in which it is used. Pragmatics has nothing to do with linguistic structures.…”

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confidence: 99%

“…Perceptual judgment is not subordinate to us, we are forced to accept it. If we see something, we cannot avoid perception, if we look at something -perceptual judgment 1 .…”

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confidence: 99%

“…The esthesic level is understood not as simple attentive hearing, but as perceptual functioning in a particular listening environment: how sonorous aspects are captured in perceptual ways. 1…”

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confidence: 99%

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Semiological Interpretation of the Electroacoustic Music Phenomenon

Salynas

2021

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As evolving technologies become more massive and more easily accessible to virtually every user, as the speed of the global Internet grows faster and more, the composer’s relationship with these capabilities takes on new meanings. It was not so much the issues of accessibility and quantity that became relevant, but rather the issues of quality, artistic value, and the uniqueness of creation. This article attempts to review the principles of composing electroacoustic music based on semiological theory. Music, as a message, passes through the various stages of creation, transforming the consciousness of both its sender and receiver. It is important to capture, highlight and define these processes. The identification of oneself as a creator and a clear, unambiguous perception of one’s work provides a clear ideological and esthetic basis for new means of composition. Electroacoustic music opens the way to hear any possible sounds, infinity of sounds — from realistic to surreal. The listener’s traditional connection to physical sound is often severed: electroacoustic sound forms and qualities usually do not reveal the original sound source and cause. Composers face the dilemma of how to ground a new esthetic field in the wide-open world of sounds, how to develop more clearly defined methods of sound creation, how to understand and explain electroacoustic music.

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Section: Misak C J (2004) Truth and The End Of Inquiry: A Peircean Ac...mentioning

confidence: 99%

mentioning

confidence: 99%

mentioning

confidence: 99%

“…Perceptual judgment is not subordinate to us, we are forced to accept it. If we see something, we cannot avoid perception, if we look at something -perceptual judgment 1 .…”

mentioning

confidence: 99%

mentioning

confidence: 99%

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Semiological Interpretation of the Electroacoustic Music Phenomenon

Salynas

2021

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Integrating Music Therapy Into Marriage and Family Therapy: Theoretical and Clinical Perspectives

Smith¹,

Hertlein

2016

Journal of Family Psychotherapy

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Collaborative resonant writing and musical improvisation to explore the concept of resonance

Lindvang

Pedersen

Bondo

et al. 2018

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R esonance is often used to characterize relationships, but it is a complex concept that explains quite different physical, physiological and psychological processes. With the aim of gaining deeper insight into the concept of resonance, a group of ten music therapy researchers, all colleagues, embarked on a joint journey of exploration. This included an aim of letting the internal learning process be disseminated in a way that could give others insight, not only from the findings, but also from the process. Findings include a dual understanding of resonance as (1) a visible and ordered phenomenon consisting of physical vibrations and acoustic sounding that offers a clear logic, and (2) a metaphorical conceptualization used to describe and understand complex psychological processes of human relationships. The process of collaborative writing led to the discovery or development of a nine-step procedure including different collaborative resonant writing procedures and musical improvisation, as well as of a series of metaphors to explain therapeutic interaction, resonant learning and ways of resonant exploration.

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Music, Meaning, and Music Therapy under the Light of the Molino/Nattiez Tripartite Model

Abstract: Abstract*

Cited by 3 publications

References 0 publications

Semiological Interpretation of the Electroacoustic Music Phenomenon

Semiological Interpretation of the Electroacoustic Music Phenomenon

Integrating Music Therapy Into Marriage and Family Therapy: Theoretical and Clinical Perspectives

Collaborative resonant writing and musical improvisation to explore the concept of resonance

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