Sound and Symbol, Volume 1

Zuckerkandl, Victor

doi:10.1515/9780691218366

Cited by 127 publications

(8 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Forms of vitality in music manifest themselves in structural features (e.g., contours of pitch) and codified forms (e.g., sonata form; Stern 2010, Kim 2013). This argument is in line with several music-theoretical approaches characterised as 'energetic' (Rothfarb 2002), in which music's dynamic qualities are identified and described in reference to contours of force (Mersmann 1925;Kurth 1931;Zuckerkandl 1956;Halm 1978). Since forms of vitality emerge relationally, that is, through interaction with others, forms of vitality in music that resemble human forms of vitality could act as a basis for investigating the social dimensions of musical sounds.…”

Section: Sociality Of Musical Behaviourssupporting

confidence: 75%

Fostering Social Interaction Through Sound Feedback: Sentire

et al. 2022

View full text Add to dashboard Cite

Sentire is a body–machine interface that sonifies motor behaviour in real time and a participatory, interactive performance in which two people use their physical movements to collaboratively create sound while constantly being influenced by the results. Based on our informal observation that basal social behaviours emerge during Sentire performances, the present article investigates our principal hypothesis that Sentire can foster basic mechanisms underlying non-verbal social interaction. We illustrate how coordination serves as a crucial basic mechanism for social interaction, and consider how it is addressed by various therapeutic approaches, including therapeutic use of real-time auditory feedback. Then we argue that the implementation of Sentire may be fruitful in healthcare contexts and in promoting general well-being. We describe how the Sentire system has been developed further within the scope of the research project ‘Social interaction through sound feedback–Sentire’ that combines human–computer interaction, sound design and real-world research, against the background of the relationship between sound, sociality and therapy. The question concerning how interaction is facilitated through Sentire is addressed through the first results of behavioural analysis using structured observation, which allows for a quasi-quantitative sequential analysis of interactive behaviour.

show abstract

Section: Sociality Of Musical Behaviourssupporting

confidence: 75%

Fostering Social Interaction Through Sound Feedback: Sentire

et al. 2022

View full text Add to dashboard Cite

show abstract

“…The notion of non-linearity of the musical realities -mentally as well as following the simultaneity of sounds in a (dis)harmonical score or performance -has been recognized by several authors (Allaerts, 1992;Zuckerkandl, 1957;Escher & Escher, 1985) and also on multiple occasions, is defended by Mazzola (see above, e.g. criticism of Lerdahl's hierarchical system).…”

Section: Non-linearity Of Coding System Versus Pseudo-linearitymentioning

confidence: 99%

“…the Platonic idea living in an "hyperouranios topos" (Mazzola, ibidem). By choosing this philosophical, conceptual reference point, and not the topographical characterization of music as 'essentially' taking place in the passing or 'betweenness' of time from one moment to another (Allaerts, 1992;Zuckerkandl, 1957;Escher & Escher, 1985), Mazzola also chooses a distinct philosophical framework (see below). Doing so, Mazzola avoids certain so-called 'breviloquent' but 'topographically blurred' concepts like those expressed by Heinrich Eggebrecht (Eggebrecht, 1993(Eggebrecht, , 1996 in what Mazzola calls a "most dramatic breviloquent repression strategy".…”

Section: Mazzola's Notions Of Concept Of Music and Semioticsmentioning

confidence: 99%

On Music and Computability: Contrasts between Harry Partch’s Bitter Music and Guerino Mazzola’s Topos of Music

Allaerts

2021

Int J Arts Humanit

View full text Add to dashboard Cite

The clash of ideas between classical music and several avant-garde movements in the previous century, not only found its way into twentieth century musicology, it also lead to a number of new developments in music digitalization. This paper reflects on the inscription of these opposing ideas about the concept of music into the contemporary views on the human condition and the notion of computability of human interactions. Harry Partch, the American iconoclast broke away from the classic, predominantly European traditions in music, and contested the abstract architecture and well-tempered tonal system of it. The mathematician Guerrino Mazzola constructed an even bigger, abstract formalization system, that allegedly allows for a complete digitalization of music, from the mind and inner ear of the composer towards the scores, the gestures and sounds produced by the performers up to the auditory cortex of the listeners. In this paper we will mainly investigate the philosophical and musicological basis of this formalization system, which is essentially based on the Denotator system and a number of concepts from algebraic topology applied to music. Finally, we will unravel the typical de-humanizing aspects that are followed in the digitalization system as used by Mazzola, and what this approach implicates for humanity (and the human sciences).

show abstract

“…In the containment provided by the music, tonic-dominant based harmony is especially important, integrated with the music's metrical and rhythmic organisation. Zuckerkandl's (1956) discussion of dynamic fields of tone and metre is helpful in understanding this.…”

Section: Part 3: Music As Dynamic Opening-closing Dynamic Fields Of T...mentioning

confidence: 99%

Music as dynamic experience of unfolding wholeness in Guided Imagery and Music (GIM): A psychoanalytic, musical, transpersonal and trans-scientific paradigm

Lawes

2017

AIJMT

View full text Add to dashboard Cite

This article discusses how the music used in Guided Music and Imagery (GIM) functions as a container for the client’s experience as he opens to unconscious depth. Many different but related perspectives are systematically presented and integrated. Included is a discussion of music having an inner necessity that governs its unfolding. As a result of the client attuning with this necessity, which can be understood ultimately to be that governing the creative unfolding of the universe itself, the music can help the client discover inner resources, find solutions to problems, and experience healing and transformation in the often unexpected yet deeply enriching ways that are possible in GIM.

show abstract

Sound and Symbol, Volume 1

Cited by 127 publications

References 0 publications

Fostering Social Interaction Through Sound Feedback: Sentire

Fostering Social Interaction Through Sound Feedback: Sentire

On Music and Computability: Contrasts between Harry Partch’s Bitter Music and Guerino Mazzola’s Topos of Music

Music as dynamic experience of unfolding wholeness in Guided Imagery and Music (GIM): A psychoanalytic, musical, transpersonal and trans-scientific paradigm

Contact Info

Product

Resources

About