The Imaginary Museum of Musical Works

Goehr, Lydia

doi:10.1093/0198235410.001.0001

Cited by 214 publications

(125 citation statements)

References 37 publications

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“…They produced responses which attempted to signal common points of reference without recourse to an existing bank of symbols or through the structure of Cartesian organisation. The BenaBena's purely functional approach to the task highlights the specific nature of WSN, whose role in the established canon of Western art music-and relationship with the concept of the musical work-embodies both ideological and aesthetic concerns (Goehr, 2007). Whilst WSN is ubiquitous, we are reminded that the underlying principles with which it is associated are not universal.…”

Section: Resultsmentioning

confidence: 99%

Cross-Cultural Representations of Musical Shape

Athanasopoulos

Moran

2013

EMR

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In cross-cultural research involving performers from distinct cultural backgrounds (U.K., Japan, Papua New Guinea), we examined 75 musicians' associations between musical sound and shape, and saw pronounced differences between groups. Participants heard short stimuli varying in pitch contour and were asked to represent these visually on paper, with the instruction that if another community member saw the marks they should be able to connect them with the sounds. Participants from the U.K. group produced consistent symbolic representations, which involved depicting the passage of time from left-to-right. Japanese participants unfamiliar with English language and western standard notation provided responses comparable to the U.K. group's. The majority opted to use a horizontal timeline, whilst a minority of traditional Japanese musicians produced unique responses with time represented vertically. The last group, a non-literate Papua New Guinean tribe known as BenaBena, produced a majority of iconic responses which did not follow the time versus pitch contour model, but highlighted musical qualities other than the parameters intentionally varied in the investigation, focusing on hue and loudness. The participants' responses point to profoundly different 'norms' of musical shape association, which may be linked to literacy and to the functional role of music in a community.

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Section: Resultsmentioning

confidence: 99%

Cross-Cultural Representations of Musical Shape

Athanasopoulos

Moran

2013

EMR

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“…Historically, the role of notation evolved, along with the notion of 'The Work', from a performer's aide de me´moire to a tool of thought for defining music of increasingly abstract complexity (Goehr 1994). So, notated scores came to be thought of as the encoded representation not of performance gestures, but of the sounds themselves: somewhat definitive objectifications of a composer's thoughts.…”

Section: Music Notation Performance and Sonic Objectsmentioning

confidence: 99%

Can Micro-Gestural Inflections Be Used to Improve the Soniculatory Effectiveness of Parameter Mapping Sonifications?

Worrall

2014

Org. Sound

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Parameter mapping sonification is the most widely used technique for representing multi-dimensional data in sound. However, it is known to be unreliable when used for detecting information in some types of data. This is generally thought to be the result of the co-dependency of the psychoacoustic dimensions used in the mapping.Positing its perceptual basis in a theory of embodied cognition, the most common approach to overcoming this limitation involves techniques that afford the interactive exploration of the data using gross body gestures. In some circumstances, such exploration is not possible and, even when it is, it may be neither necessary nor sufficient.This article explores some other possible reasons for the unreliability of parameter mapping sonification and, drawing from the experience of expressive musical performance, suggests that the problem lies not in the parametric approach per se, nor in the lack of interactivity, but in the extent to which the parameters employed contribute to coherent gestalts. A method for how this might be achieved that relies on the use of micro-gestural information is proposed. While this is speculative, the use of such gestural inflections is well known in music performance, is supported by findings in neuroscience and lends itself to empirical testing.

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“…Aside from their technical complexity, such stand-alone analytical articles represented a textual, logical exegesis of complex musical works. "Ideas" (Schoenberg, 1950(Schoenberg, /2010, "imaginary concepts" (Goehr, 2007), or "fictions" (Guck, 1994) were also explored, which implied the need for imaginative prose interpretations and elaborate analytic graphs to accompany the elitist musical experiences of the professional analyst.…”

Section: Music Theory As An Independent Disciplinementioning

confidence: 99%

Our Varying Histories and Future Potential: Models and Maps in Science, the Humanities, and in Music Theory

Narmour

2011

Music Perception

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Part 1 briefly recounts the influence of social unrest and the explosion of knowledge in both psychology and the humanities circa . As the sciences rely on explicit top-down theories connected to bottom-up maps and models, and whereas the humanities build on bottom-up differences within malleable top-down "theories" (approaches, themes, theses, programs, methods, etc.), the changes in the sciences during this period contrasted sharply with the changes in the humanities. Part 2 discusses in detail how these two social transformations affected the histories of music theory and cognitive music theory. The former fractiously withdrew from its parent organization (AMS), whereas the latter was welcomed into SMPC. Inasmuch as both music theory and cognitive music theory rely on maps and models, Part 3 examines the metatheoretical importance of these terms for music cognition, music theory, and cognitive music theory. Part 4 speculates about the future-how music cognition, cognitive music theory, and music theory contribute to the structure of musical knowledge. The intellectual potential of this unique triadic collaboration is discussed: psychology provides a commanding empirical framework of the human mind, while music theory and cognitive music theory logically model moment-to-moment temporal emotions and the auditory intellections at the core of musical art. . © 2011 by t h e regents o f t h e university o f california all rights reserved. please direct all requests for permission to photo copy or reproduce article content through the university of california press's rights a n d permissions w e b s i t e , h t t p ://www.ucpressjournals.com/reprintinfo.asp.doi: 10.1525/mp.2011.29.1.1 eugene narmour University of Pennsylvania part 1 briefly recounts the influence of social unrest and the explosion of knowledge in both psychology and the humanities circa . As the sciences rely on explicit top-down theories connected to bottom-up maps and models, and whereas the humanities build on bottom-up differences within malleable top-down "theories" (approaches, themes, theses, programs, methods, etc.), the changes in the sciences during this period contrasted sharply with the changes in the humanities. Part 2 discusses in detail how these two social transformations affected the histories of music theory and cognitive music theory. The former fractiously withdrew from its parent organization (AMS), whereas the latter was welcomed into SMPC. Inasmuch as both music theory and cognitive music theory rely on maps and models, Part 3 examines the metatheoretical importance of these terms for music cognition, music theory, and cognitive music theory. Part 4 speculates about the future-how music cognition, cognitive music theory, and music theory contribute to the structure of musical knowledge. The intellectual potential of this unique triadic collaboration is discussed: psychology provides a commanding empirical framework of the human mind, while music theory and cognitive music theory logically model moment-to-moment tempor...

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The Imaginary Museum of Musical Works

Cited by 214 publications

References 37 publications

Cross-Cultural Representations of Musical Shape

Cross-Cultural Representations of Musical Shape

Can Micro-Gestural Inflections Be Used to Improve the Soniculatory Effectiveness of Parameter Mapping Sonifications?

Our Varying Histories and Future Potential: Models and Maps in Science, the Humanities, and in Music Theory

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