On the Moods of a Music-Logic

Seeger, Charles

doi:10.2307/830257

Cited by 30 publications

(3 citation statements)

References 7 publications

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“…14 Complementary to my contour types, studies that also deal with the subject of contour typology can be found in Seeger (1960), Adams (1976), and Morris (1993). For detailed discussion and critique of their typologies, see Wu (2012, 14-28).…”

Section: Discussionmentioning

confidence: 99%

Ruth Crawford’s String Quartet, Mvt. 3: An Analysis of Dynamic Counterpoint, Contour Similarity, and Musical Form

Wu¹

2020

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Section: Discussionmentioning

confidence: 99%

Ruth Crawford’s String Quartet, Mvt. 3: An Analysis of Dynamic Counterpoint, Contour Similarity, and Musical Form

Wu¹

2020

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“…Spreading activation models (SAMs) are inspired by neuroarchitecture and brain function, and are used to explain a wide range of memory and cognition processes, such as solving problems and making (human-like) errors and corrections (Danner & Thøgersen, 2022; Mak et al, 2021; Pace-Sigge, 2018; Siew, 2022; Völker, 2021; Wang et al, 1988; Werner et al, 2018). SAMs have been used to provide mechanistic explanations of the cognitive processing of music, such as the organization of chord progressions (Bharucha & Stoeckig, 1987), links from pieces of music being brought to mind as a result of hearing another (Faubion-Trejo & Mantell, 2022, p. 305), affective responses to music (Schubert et al, 2014; Völker, 2022), and the creative process (Duch, 2007; Gabora & Ranjan, 2013; Schubert, 2012, 2021).…”

Section: Theoretical Position Building On Spreading Activation Models...mentioning

confidence: 99%

Involuntary, Limited, and Contiguously Repeating Musical Imagery (InLaCReMI): Reconciling Theory and Data on the Musical Material Acquired by Earworms

Schubert

2023

Music & Science

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“Earworms” have been proposed as a particular type of involuntary musical imagery (INMI) where musical material is repeated in the mind. The structure of the repetition is investigated by proposing a spreading activation model (SAM), where mental experience consists of priming and activation of nodes that represent objects, events, and relationships, including music. Music consists of chaining together nodes representing small music segments within hierarchical structures. Listening to music at a point in time activates the music's represented segment, which then primes the node representing the segment that follows. Repeating musical segments are coded recursively, with an additional layer of “context” nodes tracking global, structural location. From this basis, two hypotheses were proposed: H1 “Contiguous repetition at encoding” and H2 “Low environmental focus.” H1 predicts that when an INMI episode is a contiguously repeating segment, it must be based on music that contains contiguous repetition: it will be perceived as a subset of INMI – involuntary, limited, and contiguously repeating musical imagery (InLaCReMI). H1 challenges current views about preferred segments for looping, such as the “hook” of a tune. H2 predicts that InLaCReMI occurs when an individual is not focused on the immediate environment. In such a state there is less social imperative to activate high attentional-demand contextual information and so adherence to contextual integrity in thought is relaxed, leading to looping of recurrently activated nodes that were encoded with contiguous repetition. Additional predictions were made using SAM, demonstrating the potential for SAM to provide a unifying understanding of INMI. InLaCReMI is proposed as a frequently occurring species of INMI and confirmation of this phenomenon through more structured empirical investigation will provide novel insights into mental operation, and the nature of INMI.

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“…Y aun así, dicha noción sigue apareciendo de forma implícita cada vez que se caracteriza a la música como un recurso que es usado a voluntad para configurar la propia subjetividad (DeNora 2000, Bull 2006). Esta persistencia sólo es posible si se niega la enorme brecha que hay entre la experiencia corporal de un lenguaje no proposicional como la música y su articulación en un discurso verbal (Seeger 1960, Blacking 1990). Como se puede ver, el problema gira necesariamente alrededor del sujeto: de cómo este es producido y de cuál es su grado de agencia, por un lado, y de cómo se puede entender la relación entre música y discurso, por el otro.…”

Section: Poder Sonido Y Subjetividadunclassified

Los mitos de la música nacional : poder y emoción en las músicas populares colombianas 1930-1960

Salgar¹

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En los últimos años Colombia ha aparecido sistemáticamente ubicada en los primeros lugares de diversas mediciones de percepción de la felicidad, esto a pesar de la difícil situación social, económica y política que vive el país. Algunos autores han señalado que esta discrepancia obedece a que la música tropical ha sido construida como un elemento central de la colombianidad, desplazando a las músicas andinas que han sido señaladas a su vez como tristes y melancólicas. Como resultado existe un imaginario que, más allá de la música, opone la “melancolía andina” a al “alegría costeña”, como rasgos identitarios predominantes en la construcción de la identidad nacional.

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On the Moods of a Music-Logic

Cited by 30 publications

References 7 publications

Ruth Crawford’s String Quartet, Mvt. 3: An Analysis of Dynamic Counterpoint, Contour Similarity, and Musical Form

Ruth Crawford’s String Quartet, Mvt. 3: An Analysis of Dynamic Counterpoint, Contour Similarity, and Musical Form

Involuntary, Limited, and Contiguously Repeating Musical Imagery (InLaCReMI): Reconciling Theory and Data on the Musical Material Acquired by Earworms

Los mitos de la música nacional : poder y emoción en las músicas populares colombianas 1930-1960

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