Subliminal Dissonance or “Consonance”? Two Views of Jazz Meter

Love, Stefan Caris

doi:10.1525/mts.2013.35.1.48

Cited by 13 publications

(5 citation statements)

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“…Demikian pula dengan musik pop mainstream yang hari ini dituntut oleh industri menjadi suatu keseragaman menjadikannya hanya sekadar background, atau bagian lain dari lingkung an keseharian kita. Theodor Adorno, salah satu pelopor Mahzab Frankfurt (Frankfurt School), bahkan menyebut industri musik popular merupakan bentuk fasisme baru melalui standarisasi industrial yang meng hilangkan ciri individualitas dalam ma syarakat (Love, 2013). Di sisi lain, demokrasi bermusik jazz ditandai dari tidak hilangnya ciri khas lokalitas tempatnya.…”

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Dialektika Riset Akuntansi Dalam Perspektif Jazz

Ichsan

Purwanti

2021

jamal

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Abstrak -Dialektika Riset Akuntansi dalam Perspektif JazzTujuan Utama -Artikel ini berupaya menunjukkan potensi musik jazz sebagai metodologi dalam riset akuntansi. Metode -Penelitian ini menggunakan metode deskriptif kualitatif de ngan pengumpulan data melalui dokumentasi dan wawancara. Seorang musisi sekaligus praktisi jazz dan penulis buku metodologi riset akun tansi menjadi informan penelitian ini. Temuan Utama -Penelitian menunjukkan bahwa musik jazz dapat diabstraksi dan diturunkan menjadi metodologi melalui penggunaan metafora yang dibagi menjadi tiga elemen kunci yaitu proses, dimensi, dan tujuan. Metodologi musik jazz (MMJ) dapat digunakan pada ranah riset akuntansi emansipatoris untuk mengonstruksi konsep akuntansi yang mengedepankan keberagaman dan mendorong keunikan. Selain itu MMJ memiliki nilai spiritual dan pendekatan yang holistik. Implikasi Teori dan Kebijakan -Implementasi MMJ menempatkan manusia sebagai makhluk yang senantiasa mendambakan keindahan hakiki dalam bentuk keadilan dan keseimbangan. Jazz dapat dipahami sebagai sebuah cara pandang terhadap berbagai realitas kehidupan ter masuk akuntansi. Kebaruan Penelitian -Penelitian ini melihat diskursus akuntansi melalui perspektif musik.

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Section: Hasil Dan Pembahasanunclassified

Dialektika Riset Akuntansi Dalam Perspektif Jazz

Ichsan

Purwanti

2021

jamal

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“…In tonal jazz, the style considered here, improvising soloists work within the meter, harmony, and, to a lesser extent, melody of the theme on which their solo is based (Love, 2013, p. 49). Pressing (1984, 1988, 1998) refers to these parameters collectively as the “referent.” For Pressing, the referent makes improvisation easier: “Since the referent provides material for variation, the performer needs to allocate less processing capacity (attention) to selection and creation of materials” (1998, p. 52; cf.…”

Section: An Ecological Description Of Jazz Improvisationmentioning

confidence: 99%

An ecological description of jazz improvisation.

Love¹

2017

Psychomusicology: Music, Mind, and Brain

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This paper builds on writings in psychology and philosophy to offer an “ecological” description of jazz improvisation. The description is grounded in the analogy of navigation through a complex environment, an environment that comprises the harmonic and metrical scheme on which the improvisation is based coupled with broader stylistic norms. The improvising soloist perceives this environment in terms of its “affordances,” that is, the possibilities for action that it offers (Gibson, 1979). While navigating the improvisational environment, the soloist also seeks opportunities for artistic display—motivic development, conspicuous risk-taking, and so on. Errors in improvisation reflect the soloist’s misperception of the environment’s affordances. Learning to improvise is a matter of refining perception through repeated experiences of improvisational success and failure. To bring the description to life, I offer evidence from an exploratory study of improvisational errors. The ecological description leads to new interpretations of the referent (the conceptual frame for a solo), improvisational learning and memory, and temporal coordination between soloist and ensemble. It counterbalances the prevailing computational view of improvisation, oriented around input, processing, and output.

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“…For example, in a typical hemiola in 3/4, the two‐beat ‘dissonant’ units (and their immediate context) must fit within some integral number of 3/4 bars: at some point the dissonant lower level will give way to the persistent upper level. In contrast, a metrical irregularity cannot be subsumed within a higher level: the top level of the metrical hierarchy simply goes away, to be resumed later in a way that may or may not fit its prior form (see Love , pp. 52–3).…”

Section: The Hypermetrical Floormentioning

confidence: 99%

Historical Hypermetrical Hearing: Uncertainty, Floors and Trapdoors

Love¹

2015

Music Analysis

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This article attempts a partial reconstruction of historical metrical hearing for late eighteenth‐century Viennese chamber music. Specifically, I build on two traits of the historical listener. First, eighteenth‐century listeners were first‐time listeners, a simple fact with significant consequences for how we understand composers’ intentions and listeners’ experiences. Second, eighteenth‐century listeners were saturated with the music of the day, to a much broader and shallower extent than the modern canon‐bound listener. This second trait enabled eighteenth‐century listeners to absorb the statistical regularities of their musical culture, giving them a set of norms through which to comprehend pieces on the first hearing. In this essay I discuss the consequences of these traits for hypermetre. Drawing on a corpus study of 1780s Viennese chamber music, I offer answers to several questions: How does the first‐time listener respond to hypermetre, compared to the more experienced listener? What consequences does this have for analysis? And what are some of the stylistic regularities underlying hypermetre in chamber music from 1780s Vienna? To answer the latter question, I posit a special level of the metrical hierarchy called the hypermetrical floor, against which hypermetrical phenomena are measured.

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Subliminal Dissonance or “Consonance”? Two Views of Jazz Meter

Cited by 13 publications

References 2 publications

Dialektika Riset Akuntansi Dalam Perspektif Jazz

Dialektika Riset Akuntansi Dalam Perspektif Jazz

An ecological description of jazz improvisation.

Historical Hypermetrical Hearing: Uncertainty, Floors and Trapdoors

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