: Sound Color . Wayne Slawson. ; New Images of Musical Sound . Robert Cogan.

1990 ◽  
Vol 12 (2) ◽  
pp. 255-261
Author(s):  
Gregory J. Sandell
Keyword(s):  
1990 ◽  
Vol 12 (2) ◽  
pp. 255-261 ◽  
Author(s):  
Gregory J. Sandell
Keyword(s):  

Author(s):  
Daniel Leech-Wilkinson

The concept of shape is widely used by musicians in talking and thinking about performance, yet the mechanisms that afford links between music and shape are little understood. Work on the psychodynamics of everyday life by Daniel Stern and on embodiment by Mark Johnson suggests relationships between the multiple dynamics of musical sound and the dynamics of feeling and motion. Recent work on multisensory and precognitive sensory perception and on the role of bimodal neurons in the sensorimotor system helps to explain how shape, as a percept representing changing quantity in any sensory mode, may be invoked by dynamic processes at many stages of perception and cognition. These processes enable ‘shape’ to do flexible and useful work for musicians needing to describe the quality of musical phenomena that are fundamental to everyday musical practice and yet too complex to calculate during performance.


IEEE Access ◽  
2021 ◽  
pp. 1-1
Author(s):  
Jingyu Liu ◽  
Anni Zhao ◽  
Shuang Wang ◽  
Yiyang Li ◽  
Hui Ren
Keyword(s):  

Author(s):  
Olivia Carter Mather

This chapter reviews how country music scholarship deals with race. It then suggests how scholarship might move forward toward a more critical stance. While evidence points toward African American innovation at the origins of country, survey histories of country music trace the music’s origins to British culture in Appalachia. Revisionist scholarship attempts to uncover black contributions in most periods of country’s history. Its most common topics are the construction of whiteness by the country music industry and the segregation of southern music in the 1920s into “race” and “hillbilly” marketing categories. This chapter ends by suggesting that country scholarship focus on race as a chief concern of the field, complicate its view of segregation, and give more attention to musical sound.


2018 ◽  
Vol 115 (12) ◽  
pp. 3168-3173 ◽  
Author(s):  
Amanda K. Tilot ◽  
Katerina S. Kucera ◽  
Arianna Vino ◽  
Julian E. Asher ◽  
Simon Baron-Cohen ◽  
...  

Synesthesia is a rare nonpathological phenomenon where stimulation of one sense automatically provokes a secondary perception in another. Hypothesized to result from differences in cortical wiring during development, synesthetes show atypical structural and functional neural connectivity, but the underlying molecular mechanisms are unknown. The trait also appears to be more common among people with autism spectrum disorder and savant abilities. Previous linkage studies searching for shared loci of large effect size across multiple families have had limited success. To address the critical lack of candidate genes, we applied whole-exome sequencing to three families with sound–color (auditory–visual) synesthesia affecting multiple relatives across three or more generations. We identified rare genetic variants that fully cosegregate with synesthesia in each family, uncovering 37 genes of interest. Consistent with reports indicating genetic heterogeneity, no variants were shared across families. Gene ontology analyses highlighted six genes—COL4A1, ITGA2, MYO10, ROBO3, SLC9A6, and SLIT2—associated with axonogenesis and expressed during early childhood when synesthetic associations are formed. These results are consistent with neuroimaging-based hypotheses about the role of hyperconnectivity in the etiology of synesthesia and offer a potential entry point into the neurobiology that organizes our sensory experiences.


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