Sound and Symbol, Volume 1

Zuckerkandl, Victor

doi:10.2307/j.ctv1416378

Cited by 3 publications

(3 citation statements)

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“…Music making is a natural practice of the human being, who is also a "musical being". Thus, everyone, without exception, must have the opportunity to participate and manifest themselves through music (ZUCKERKANDL, 1976). For people with HI, music turns out to be a privilege of only a few, as they end up losing their contact with music from an early age upon receiving the diagnosis of HI.…”

Section: Discussionmentioning

confidence: 99%

Music therapy as a resource for the development of music perception in cochlear implant users: Case study

Reinert,

Simões,

Cunha

2024

Eyes on Health Sciences V.02

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This study aimed to evaluate whether or not music therapy can help to develop music perception of cochlear implant (CI) users, thus improving their music appreciation. It is a longitudinal and prospective study that uses a mixed approach. In order to collect data, the Munich Music Questionnaire (MUMU) and the Music Perception Test BATUTA were applied, the latter being adapted to assess the perception of melody and timbre of an adult with congenital, bilateral, and profound hearing impairment (HI) who uses a unilateral CI. Eight music therapy sessions were carried out, using sound-musical activities with musical instruments to stimulate and develop music perception skills. At the end of the sessions, the musical perception test was reapplied with the result of 17 correct answers before and 20 correct answers after the music therapy sessions. The participant's responses to the MUMU indicated that music is of great importance in his life and brings him pleasure, along with emotional satisfaction. Furthermore, there was an increase in the number of correct answers and a decrease in repetitions of the BATUTA’s musical samples after each music therapy session. It was concluded that music therapy is a valuable resource for developing the music perception of individuals with hearing impairment who use CI.

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Section: Discussionmentioning

confidence: 99%

Music therapy as a resource for the development of music perception in cochlear implant users: Case study

Reinert,

Simões,

Cunha

2024

Eyes on Health Sciences V.02

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“…Music can engulf people in a shared aesthetic and interactional space and in ways that enable self-reflection, the realization of creativity and connectivity with others. Zuckerkandl (1973) also considers social aesthetic connection as a core function of music. Thereby, Zuckerkandl sees the ability to make music and to sing as innate to human beings and as a fundamental basis of connection, expression, and shared experience.…”

Section: Conceptual Foundations In Social Aesthetics and Music-based ...mentioning

confidence: 99%

Music Workshops as Social Aesthetic Contributions to Cultivating Community Sensibilities

Andriolo

Hodgetts

Sonn

et al. 2022

International Perspectives in Psychology

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Abstract. Human connection and mutual exploration through engagements in the arts, in general, and music, more specifically, have been core features of community life in many settings for millennia. The importance of such modes of collective engagement has also gained renewed interest among psychologists. This article explores the use of arts-based practice in Brazilian organizational settings. Embracing the theoretical perspective of the bricoleur, we adopt a social aesthetic perspective as a basis for considering the cultivation of a sense of community and togetherness through music workshops. Our focus is on shifts in the social sensibilities of participants as they engage with each other through music. This article contributes to qualitative research in community and critical social psychology, where a turn to community arts is gaining increasing traction.

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“…1313By the ‘flow of the metre’, I have in mind Zuckerkandl's (1956, pp. 169–174) conception of metre as a wave cresting on downbeats, subsiding afterwards, and then swelling up again until reaching the next downbeat.…”

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confidence: 99%

Brahms, Twilight and the Decay of Leading‐Note Energy

Cubero

2020

Music Analysis

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Leading notes possess a powerful drive: once they take hold of the music, their upward resolution is all but certain. In Brahms's works, however, their force tends to dwindle, and many end up yielding chromatically downward. Leading notes typically deflate in order from high to low along the sequence of sharps, resulting in a broad process of tonal de‐intensification. Through close voice‐leading analyses of two accompanied part songs (‘Abendlied’, Op. 92 No. 3, and ‘Der Abend’, Op. 64 No. 2) and two piano pieces (the E major Intermezzo, Op. 116 No. 4, and the B minor Capriccio, Op. 76 No. 2), I argue that the decay in leading‐note energy is in part what gives Brahms's music its weary, twilight tone. In so doing, I seek to bridge a gap between our understanding of the voice leading of Brahms's music and one of the prevailing aspects of the composer's reception.

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Sound and Symbol, Volume 1

Cited by 3 publications

References 0 publications

Music therapy as a resource for the development of music perception in cochlear implant users: Case study

Music therapy as a resource for the development of music perception in cochlear implant users: Case study

Music Workshops as Social Aesthetic Contributions to Cultivating Community Sensibilities

Brahms, Twilight and the Decay of Leading‐Note Energy

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