scholarly journals Play it again with feeling: Computer feedback in musical communication of emotions.

2006 ◽  
Vol 12 (2) ◽  
pp. 79-95 ◽  
Author(s):  
Patrik N. Juslin ◽  
Jessika Karlsson ◽  
Erik Lindström ◽  
Anders Friberg ◽  
Erwin Schoonderwaldt
Keyword(s):  
Computer Feedback ◽  
Musical Communication

MUSIC AND COMMUNICATION PROCESSES IN SOCIETY: MANAGEMENT THEORY

2021 ◽  
Vol 1 (3) ◽  
pp. 41-49
Author(s):  
A. N. Yakoupov ◽  
Keyword(s):  
Social Life ◽  
Modern Society ◽  
Communication Management ◽  
Musical Life ◽  
Economic Changes ◽  
Communication Processes ◽  
Theoretical Statement ◽  
The Social ◽  
The Impact ◽  
Musical Communication

Based on historical and theoretical analysis of the development of social functioning of musical communication, as well as some problems of its management, the author attempts to theoretically justify the ways and means of optimizing music and communication processes that contribute to enhance the social and cultural role of musical art. The article describes fundamental concepts, which should be taken as the basis for the organization of musical life in modern society. The author puts forward such a conceptual theoretical statement as the principle of multi-factor audience differentiation. Consequently, the paper considers important facets of the theory of musical communication management in society, namely the target programming, scientific forecasting and long-term planning. The ways and methods of implementing these principles aimed at the achievement of a certain level of control over the music communication processes in society are also considered. Special attention is paid to the analysis of the impact of current social and economic changes in Russia on the formation of marketing and management in the social life of musical art.

MUSIC COMMUNICATION: WAYS OF REPRODUCTION AND CHANNELS OF PERCEPTION OF MUSIC (historical and analytical view)

2020 ◽  
Vol 1 (2) ◽  
pp. 53-61
Author(s):  
A. N. Yakoupov ◽  
Keyword(s):  
Oral Communication ◽  
Recording Equipment ◽  
Professional Musicians ◽  
Stage Design ◽  
New Era ◽  
Musical Notation ◽  
Theatrical Performance ◽  
Musical Thinking ◽  
Oral Method ◽  
Musical Communication

In the article the means of musical communication and their evolution are considered in the historical and analytical aspect. There are two types of communication tools: acoustic, using the airspace as a channel for transmitting encoded information, and visual, which include stage design, allowing to perceive music as a kind of theatrical performance, and musical notation, graphically fixing all the components of the musical text. As the earliest means of nonwritten communication, the oral method is put forward, a vivid example of which is folklore, often called the musical memory of generations. Other examples of oral communication are cult music, improvisation and musical meditation. It is stated that musical writing, in particular, musical notation, and later printing tools have created conditions for overcoming spatial and temporal barriers to the spread of music. The next step is the invention of technical sound recording, which opened a new era in the development of communications. Magnetic recording of the visual series made it possible to create concert films and opera films. Even greater involvement of people in the process of musical communication was facilitated by the appearance of electronic and mechanical means of recording music. The emergence of new opportunities in the field of sound dynamics control, its timbre, influenced the development of musical thinking. A new industry of "production" has emerged with the involvement of professional musicians who own modern recording equipment and specialize in the production of "artificial" musical products. This process was accompanied by the formation of a new audience of listeners who preferred recording to live sound.

MUSIC AND COMMUNICATION PROCESSES IN SOCIETY: MANAGEMENT THEORY

2021 ◽  
Vol 1 (1) ◽  
pp. 30-40
Author(s):  
A. N. Yakoupov ◽  
Keyword(s):  
Social Life ◽  
Modern Society ◽  
Communication Management ◽  
Musical Life ◽  
Economic Changes ◽  
Communication Processes ◽  
Theoretical Statement ◽  
The Social ◽  
The Impact ◽  
Musical Communication

Based on historical and theoretical analysis of the development of social functioning of musical communication, as well as some problems of its management, the author attempts to theoretically justify the ways and means of optimizing music and communication processes that contribute to enhance the social and cultural role of musical art. The article describes fundamental concepts, which should be taken as the basis for the organization of musical life in modern society. The author puts forward such a conceptual theoretical statement as the principle of multi-factor audience differentiation. Consequently, the paper considers important facets of the theory of musical communication management in society, namely the target programming, scientific forecasting and long-term planning. The ways and methods of implementing these principles aimed at the achievement of a certain level of control over the music communication processes in society are also considered. Special attention is paid to the analysis of the impact of current social and economic changes in Russia on the formation of marketing and management in the social life of musical art.

scholarly journals “Unusual, Gentle Sensory Stimuli”: A Psychoanalytical Path to the Early Aesthesis of Hans Werner Henze

2007 ◽  
Vol 43 (2) ◽  
pp. 251-263
Author(s):  
Christian Bielefeldt
Keyword(s):  
Early Music ◽  
Sensory Stimuli ◽  
Music Aesthetics ◽  
The 1950S ◽  
Musical Communication

Musicology and psychoanalysis still face each other strangely. Yet, there are quite fruitful initiatives for dealing with musical phenomena from a psychoanalytical perspective, as this article tries to show with the example of the early music aesthetics of Hans Werner Henze. Led by the Lacanian model of imaginary-symbolic-real, Henzes texts from from the 1950s are read in a way in which the aesthetics “of a free, wild sound” is linked to the requirement of music being communicative. Musical communication is understood thereby differently as in the later, politically engaged phase of Henze. It is still understood as an excessive moment of the conventional auditive signs, in which listener dissolves the traditionally fixed senses. With Lacan, this situation of hearing may be described as a musical representation of the ‘I’, which is fundamentally more unstable than linguistic self-representations, leading consequently toward an enjoyment as a condition of temporary self-loss.

What's your music? Subjective theories of music-creating artists

2009 ◽  
Vol 13 (2) ◽  
pp. 207-230 ◽  
Author(s):  
Peter Holtz
Keyword(s):  
Electronic Music ◽  
Classical Music ◽  
The Self ◽  
Modus Operandi ◽  
Self Disclosure ◽  
Musical Structures ◽  
Contemporary Classical Music ◽  
Intergroup Conflicts ◽  
Rational Construction ◽  
Musical Communication

In an interview study with 17 music-creating artists (composers of contemporary “classical” music, electronic music, musicals, movie scores, and jazz musicians) from Southern Germany, three types of music-creating artists could be discerned: the avant-gardists, the neo-romantics, and the self-disclosing artists. These types represent social groups that are prone to typical intergroup conflicts. The different types of music-creating artists adhere to different aesthetic ideals: the avant-gardists emphasize the abstract beauty of musical structures and try to develop their music from within the music itself, the neo-romantics view music as the true language of the heart and try to express something through their music, and the self-disclosing artists feel the drive to express their feelings and sensations by means of music. As a consequence, different dimensions of musical communication are pivotal: formal aspects, the relationship between the musician and the listener, and self-disclosure. The three types of music-creating artists resemble the types of composers analyzed by Julius Bahle in the 1930s ( e.g. Bahle, 1930). Regarding their modus operandi, the musicians differ on a continuum between a purely rational creative work and the creation of music in an unconscious outburst of inspiration. Nevertheless, most musicians experience an alternation between phases of intuitive inspiration and phases of deliberate rational construction during the creative process. Therefore, a typology of musicians based on their modus operandi seems unhelpful.

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