“Each and every important work of art leaves traces behind in its material and technique,” Theodor W. Adorno postulates in Aesthetic Theory, as he describes the way a composition is both a result of its own time and reacts critically to the time it belongs to. This quote demonstrates a reversal: rather than merely an expression or an outcome of an artist’s idea, art itself is regarded as a source for change. The work may come to affect its own (...) tools and materials and the social space around it. The primary question of this article is: what is it in musical composition that leaves the traces? This article attempts to move the focus away from discussion of finished works, and instead, depict how composition as a discipline engages in dialogue with its handcraft, historicity, and surrounding social world. I call this aspect of composition that possesses critical potential a lingering reflection. Slow and heteronomous in its nature, it presents a counterpoint to ideas that seem solid, are easily accessible and unquestioned. (shrink)

(1998). Composition, improvisation, constitution: forms of life in the music of pierre boulez and ornette coleman. Angelaki: Vol. 3, The love of music, pp. 75-102.

Serial music was one of the most important aesthetic movements to emerge in post-war Europe, but its uncompromising music and modernist aesthetic has often been misunderstood. This book focuses on the controversial journal die Reihe, whose major contributors included Stockhausen, Eimert, Pousseur, Dieter Schnebel and G. M. Koenig, and discusses it in connection with many lesser-known sources in German musicology. It traces serialism's debt to the theories of Klee and Mondrian, and its relationship to developments in concrete art, (...) modern poetry and the information aesthetics and semiotics of Max Bense and Umberto Eco. M. J. Grant sketches an aesthetic theory of serialism as experimental music, arguing that serial theory's embrace of both rigorous intellectualism and aleatoric processes is not, as many have suggested, a paradox, but the key to serial thought and to its relevance for contemporary theory. (shrink)

Among improvisers and composers today there is a resurgence of interest in experimental music (EM) practices that welcome contingency; engaging with unforeseen circumstances as an essential component of the music-making process, and a means to sonic discovery. I propose theExperimental Composition Improvisation Continua(ECIC) as a model with which to better understand these experimental musical works. The historical Experimental Music movement of the 1950s and 60s is briefly revisited, and the jazz tradition included as an essential protagonist; (...) both being important historical movements leading to the formulation of ideas around contingent musical practices. The ECIC model is outlined as providing a means to observe the interactions and continua between composition and improvisation on the one hand and more or less experimentally conceived music on the other. This model is applied as an investigative and comparative tool to three distinctive works in order to illuminate the presence or otherwise of various experimental interactions within them. The works are: “Spiral Staircase” – a composition by written by Satoko Fujii in late 2007, John Cage’s4′33″, and a performance of “My Favorite Things” by the John Coltrane Quartet. Further possible applications of the ECIC are suggested in the conclusion. (shrink)

Volume 1 -- Unit 1: Tragedy as an independent art of musical drama. Chapter 1: Plato's well-educated men, the dancers: Harmonia kai rhuthmos as "music and dance" -- Chapter 2: Tragedy as a necessarily performed "musical" art in the Poetics -- Chapter 3: The irreducibility of tragedy to literature -- Chapter 4: Harmonia kai rhuthmos as "music and dance" in Politics VIII.

The essence of Marxist philosophy is a philosophical criticism of society, and its development is driven by its philosophical criticism of social phenomena. Examining and criticizing music from a philosophical perspective can provide us with a brand new theoretical framework for music philosophy, exploring and applying new philosophical theories to analyze the fusion of ethnic elements in modern music composition, thereby expanding the philosophical field of music. This paper first introduces the concept and development of (...) Marx's philosophy and philosophical view of music, then analyzes the characteristics and current situation of the fusion of ethnic elements in modern music composition and discusses the criticality and practicality of the fusion of ethnic elements in modern music composition under the perspective of Marx's philosophical view. Finally, it is pointed out that the fusion of ethnic elements in modern music composition has the philosophical basis of combining formal analysis with meaning interpretation, technical rationality with musical aesthetics, and intersubjectivity. From the perspective of Marxist philosophy, exploring the philosophical foundation of the combination of modern music composition and ethnic factors helps to deeply analyze the philosophical connotations of modern music composition and ethnic elements, seek dialogue and understanding between modern music and ethnic elements, and reshape human sensory understanding. (shrink)

This article presents Jean-Luc Nancy’s ideas of music in relation to being singular plural. Nancy elaborates on the themes of sharing of voices and of resonance in several texts, and he relates resonance specifically to sound, voice, and music. Although in other contexts Nancy thinks that the question of the subject belongs to the past, he maintains the question of the subject in the context of sonority. We will see that this subject is not only the subject of (...) sensation but more precisely the musical subject. Finally, we will see how musical themes help him deconstruct the idea of community on individual, dialogic, and collective levels. Nancy opposes his idea of musical community to the total musical community that characterizes Romanticism. In the end, he objects to all forms of formatting in genres and invites to open, active, and inventive forms of listening all sounds that resonate in the world. (shrink)

There are several possible ways for investigating the creative process in musical composition in order to induce certain assumptions about the nature of the compositional experience that may provide a certain philosophical framework for shaping compositional experiences in music educational settings at all levels. By taking an approach mainly based on writings and interviews of twentieth and twenty-first century composers, such as Boulez, Ferneyhough, Foss, Ligeti, Xenakis, Reich, Reynolds, Schoenberg, Stockhausen, and Varèse, among others, Eleni Lapidaki illustrates certain (...) parameters about their actual compositional process. Implications for music education are suggested for immersing student composers in learning experiences that respect their intuitions, search for their individuality, and place emphasis on innovation and creative freedom as inseparable from expression in their compositions. (shrink)

This paper presents an in-depth study and analysis of the emotional classification of EEG neurofeedback interactive electronic music compositions using a multi-brain collaborative brain-computer interface (BCI). Based on previous research, this paper explores the design and performance of sound visualization in an interactive format from the perspective of visual performance design and the psychology of participating users with the help of knowledge from various disciplines such as psychology, acoustics, aesthetics, neurophysiology, and computer science. This paper proposes a specific mapping (...) model for the conversion of sound to visual expression based on people’s perception and aesthetics of sound based on the phenomenon of audiovisual association, which provides a theoretical basis for the subsequent research. Based on the mapping transformation pattern between audio and visual, this paper investigates the realization path of interactive sound visualization, the visual expression form and its formal composition, and the aesthetic style, and forms a design expression method for the visualization of interactive sound, to benefit the practice of interactive sound visualization. In response to the problem of neglecting the real-time and dynamic nature of the brain in traditional brain network research, dynamic brain networks proposed for analyzing the EEG signals induced by long-time music appreciation. During prolonged music appreciation, the connectivity of the brain changes continuously. We used mutual information on different frequency bands of EEG signals to construct dynamic brain networks, observe changes in brain networks over time and use them for emotion recognition. We used the brain network for emotion classification and achieved an emotion recognition rate of 67.3% under four classifications, exceeding the highest recognition rate available. (shrink)

Pendragon Press is proud to offer this new, revised, and expanded edition of Formalized Music, Iannis Xenakis's landmark book of 1971. In addition to three totally new chapters examining recent breakthroughs in music theory, two original computer programs illustrating the actual realization of newly proposed methods of composition, and an appendix of the very latest developments of stochastic synthesis as an invitation to future exploration, Xenakis offers a very critical self-examination of his theoretical propositions and artistic output (...) of the past thirty-five years. This edition of Formalized Music is an essential tool for understanding the man and the thought processes of one of this century's most important and revolutionary musical figures. (shrink)

The essential purpose of this research study is to measure the impact of the applications of traditional Chinese philosophical thinking in film and television music composition; for measuring, the research study used open-ended and closed-ended questions related to the variables. This research study depends upon primary data analysis for collecting data associated with traditional Chinese philosophical thinking and music composition. These data were collected from film industries, directors, and actors in musical department research conducted in China. (...) For measuring, the research used smart PLS and run different results related to the variables, including independent and dependent variables. Indicator correlation, discriminant validity, and composite reliability are all tests run for measuring the research. The smart PLS Algorithm model explains the impact with each other. The overall result found a positive and significant effect on the applications of traditional Chinese philosophical thinking in film and television music composition. (shrink)

Music and the Idea of a World explores the bond between music and world by reflecting on great musical compositions and works by great thinkers from antiquity to the present. World, here, has several meanings. It is the natural world or cosmos, the inner world of feeling and thought, world history, and the world of tones (the musical universe). The book is intended for philosophic-minded readers who are fascinated by music and music lovers who enjoy thinking (...) about the philosophic questions that music raises. The seven-chapter journey begins with a contrast between the cosmologies of Plato and Schopenhauer (followed by a discussion of Palestrina's music and the world of the Bible). It then proceeds to chapters on music and nature in Victor Zuckerkandl's Sound and Symbol, a love song from Bach's St. Matthew Passion, a love song from Mozart's Magic Flute, Wagner's Tristan and Isolde in relation to Schopenhauer's cosmology of the will, twelve-tone music as the image of totalitarianism in Thomas Mann's Doctor Faustus, and the world of the inner life in Francis Poulenc's Dialogues of the Carmelites. (shrink)

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering (...) issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition. (shrink)

Music, said Zen patriarch Hui Neng, "is a means of rapid transformation." It takes us home to a natural world that functions outside of logic, where harmony and dissonance, tension and release work in surprising ways. Weaving memoir, travelogue, and philosophical reflection, Sudden Music presents a musical way of knowing that can closely engage us with the world and open us to its spontaneity.Improvisation is everywhere, says David Rothenberg, and his book is a testament to its creative, surprising (...) power. Linking in original ways the improvised in nature, composition, and instrumentation, Rothenberg touches on a wide range of music traditions, from Rob Nachman's stories to John Cage's aleatory. Writing not as a critic but as a practicing musician, Rothenberg draws on his own extensive travels to Scandinavia, India, and Nepal to describe from close observation the improvisational traditions that inform and inspire his own art.The accompanying audio disc features eleven original compositions by Rothenberg, none of which have been previously released on CD. Included are a duet with clarinet and white-crested laughing bird, and another duet with clarinet and Samchillian TipTipTip Cheeepeeeee, an electronic computer instrument played by its inventor Leon Gruebaum. Also featured are multicultural works blending South Indian veena and Turkish g-clarinet with spoken text from the Upanishads; a piece commissioned by the Tanglewood Contemporary Music Festival with readings of texts by E. O. Wilson accompanied by clarinet and electronics; and improvisations based upon Tibetan Buddhist music, Japanese shakuhachi music, and the image of a black crow on white snow.Sudden Music is a concise and delicate work of beauty. It will help all readers experience the world as a musical place, full of wonderful events that come out of nowhere to create a strange and rhythmic harmony. (shrink)

Dance, Music and Dramaturgy: collaboration plan and dramaturgical apparatus – The unfolding of the concept of dramaturgy and the problematics of contemporary choreography are, today, a vast and diverse field of research, bearing numerous disclosures that lead to their reciprocal implication. Apart from that, dance and music share significant complementary ties allowing for the consideration of a common compositional inquiry. Reflecting on the compositional processes of dance and music, this article cross-examines the collaboration between choreographers and composers, (...) integrating the incidence of dramaturgy in the strategies of choreographic and musical composition. (shrink)

This is a review of Gregory Scott's book on Aristotle's Poetics, which he argues, with excellent and well-defended reasons, has the much narrow focus of dramatic musical art.

Musical idioms may appear side by side in a wide variety of historical, group-based or individual compositional styles used in the postmodern compositions. The reception interpretation of musical works is based on the idioms of musical speech as meaningful and expressive constants. Not only do the reveal the positive or negative ties of current musical language to the musical poetics from previous periods, they also update their meanings. The idiomatic musical structures naturally grow into the social system of music (...) and thus become part of the deeper levels of European compositional tradition. Musical meanings are becoming typical for the particular sectors of European musical culture, and may even become their emblem. It is even likely that the idioms cease to be seen as a complex musical structure in the process of reception and they become a plain composition material, singular units of musical language. Using the postmodern composition Apolloopera by Marek Piaček, we illustrate the in-depth reference platform of musical idioms and examine the role of idiomatic units in the structure of a postmodern piece. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Most music we hear comes to us via a recording medium on which sound has been stored. Such remoteness of music heard from music made has become so commonplace it is rarely considered. _Musical Performance: A Philosophical Study_ considers the implications of this separation for live musical performance and music-making. Rather than examining the composition or perception of music as most philosophical accounts of music do, Stan Godlovitch takes up the problem of how (...) the tradition of active music playing and performing has been challenged by technology and what problems this poses for philosophical aesthetics. Where does does the value of musical performance lie? Is human performance of music a mere transfer medium? Is the performance of music more expressive than recorded music? Musical Performance poses questions such as these to develop a fascinating account of music today. musicians - but via some recording medium on which sound has been stored. (shrink)

Like his contemporary, Edward Weston, Ansel Adams claimed that visualization is essential for creating fine art photography. But, unlike Weston, he believed that a print from a negative is like a performance from a score. In his analogy, a photographer’s visualization is like a musician’s composition: once it has been set down in a ‘score’, it can be expressively rendered by different performers, making it possible to create and critically appreciate ‘performances’ with different qualities. I argue that this (...) class='Hi'>music-photography analogy makes Adams’s conception of photographic visualization more fruitful than Weston’s alternative. However, while I agree with Adams that a print is analogous to a performance, I criticize his idea that a negative is like a score. I argue that he holds a traditional, single-stage conception of photography, which led him to overlook a key distinction between undeveloped film and the developed negative. The multi-stage account of photography that I defend not only remedies this problem but also shows how Adams’s proposal can be fully realized in digital photography. Most significantly, it invites theorists and practitioners to expand the music-photography analogy by considering wider varieties of music—not only performances from a score. (shrink)

First things -- Emanuel Bach and the allure of the irrational -- Between enlightenment and romance -- Beethoven : confronting the past -- Fragments -- Death masks.