Chromaticism

Lyric Cousins ◽  
2016 ◽  
Author(s):  
Fiona Sampson
Keyword(s):  
Classical Music ◽  
Social Conditions ◽  
Western Music ◽  
Poetic Language ◽  
Work Of Art ◽  
The Social ◽  
Western Classical Music

This chapter examines the uses of chromaticism in music and poetry. Chromaticism is a concept drawn from Western Classical music, and refers to the tonal or harmonic variations in terms of colour. Chromaticism is guilty of revealing how porous the boundaries are between a work of art and the social conditions under which that work was produced. But it also reveals something about the musical project itself. But the concept goes much further than that. In the context of Western music and poetry, ‘chromatic’ can mean not merely what is formally disobedient, but more broadly whatever is put in the poem for sensory, rather than grammatical or denotative, reasons. Chromaticism represents a principle of ‘give’ — of flavour, or even of deviation — within poetic language, and this principle has a number of aspects.

scholarly journals Ontology of Time as a Deconstruction of Space. An essay on the Philosophy of Byzantine music

Conatus ◽  
2019 ◽  
Vol 4 (1) ◽  
pp. 109
Author(s):  
Risto Solunchev
Keyword(s):  
Classical Music ◽  
Western Music ◽  
14Th Century ◽  
Time Space ◽  
The Absolute ◽  
Musical Ontology ◽  
Western Classical Music

In this paper the author examines the ontology of Byzantine music in its self, its aesthetical ground, the philosophical and cultural principles of creation, its episteme, the epistemological field that produced its forms from the 12th till the 14th century, and why that musical ontology hasn’t change through the centuries. The paper discusses in partucular Ernst Bloch’s view that the only evolutionary expression of the Absolute spirit as far as music is concerned, is Western classical music. The author claims that the Western and the Byzantine music stand for two totally distinct and diverse ontologies of the musical being, something that Bloch seems to overlook; this, according to the author, is mostly due to the different systems of representation that have been used, and especially the representational ideas of the time-space relation. The author supports the view that while Western music is spatially-modeled, Byzantine music is time-modeled.

scholarly journals The evolution of Western tonality: a corpus analysis of 24,000 songs from 190 composers over six centuries

2017 ◽  
Author(s):  
Pu Huang ◽  
Mark Wilson ◽  
Dustin Mayfield-Jones ◽  
Viktoriya Coneva ◽  
Margaret Frank ◽  
...  
Keyword(s):  
Classical Music ◽  
Principal Component ◽  
Musical Instrument ◽  
Corpus Analysis ◽  
Western Music ◽  
Self Organizing Map ◽  
Digital Interface ◽  
Pitch Class ◽  
Linear Interval ◽  
Western Classical Music

The corpus of Western music offers the chance to analyze trends in its evolution. Here, we analyze greater than 24,000 MIDI (Musical Instrument Digital Interface) transcriptions of Western classical music from 197 composers spanning from the 15th to 20th centuries. The unique file format of MIDI files (notes of discrete frequencies turning “on” and “off” at specific times) allows us to statistically quantify note usage with respect to pitch class and intervals. We first perform a Principal Component Analysis (PCA) on pitch class and show that the data creates a ring. Songs strongly associated with a particular key fall on the ring, whereas highly chromatic and atonal works fall in the center, revealing that the evolution of Western music is constrained by the circle of fifths. We then examine interval usage. Discriminant analysis on composer identity reveals that a major source of evolutionary change is incremental and linear. Interval usage predicts individual composer identity at levels above chance. A Self-Organizing Map (SOM) reveals four major groups of composers with similar tonal styles. These groups are loosely based on traditional musical eras, but reveal unexpected continuity between co-existing schools of composers.

The Social Construction of a Perfect Market: The Strawberry Auction at Fontaines-en-Sologne

2010 ◽  
pp. 73-89
Author(s):  
M.-F. Garcia
Keyword(s):  
Economic Theory ◽  
Social Construction ◽  
Empirical Study ◽  
Spatial Organization ◽  
Frame Of Reference ◽  
Social Conditions ◽  
Invisible Hand ◽  
The Social ◽  
Per Se

The article examines social conditions and mechanisms of the emergence in 1982 of a «Dutch» strawberry auction in Fontaines-en-Sologne, France. Empirical study of this case shows that perfect market does not arise per se due to an «invisible hand». It is a social construction, which could only be put into effect by a hard struggle between stakeholders and large investments of different forms of capital. Ordinary practices of the market dont differ from the predictions of economic theory, which is explained by the fact that economic theory served as a frame of reference for the designers of the auction. Technological and spatial organization as well as principal rules of trade was elaborated in line with economic views of perfect market resulting in the correspondence between theory and reality.

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

Der Tod als ästhetisches Experiment

2012 ◽  
Vol 57 (2) ◽  
pp. 150-161
Author(s):  
Leander Scholz
Keyword(s):  
Self Determination ◽  
Modern Concept ◽  
Work Of Art ◽  
The Social ◽  
Art Performance ◽  
Humanistic Tradition

Als der Künstler Gregor Schneider im Frühjahr 2008 ein Kunstprojekt ankündigte, bei dem ein Mensch, der im Sterben liegt, im Rahmen einer künstlerischen Performance ausgestellt werden sollte, waren die Reaktionen überwiegend äußerst kritisch. Während Gregor Schneider sein Projekt explizit als einen humanistischen Beitrag verstand, der sich gegen die Tabuisierung des Sterbens richten sollte, sahen die meisten Kommentatoren darin eine pietätslose Preisgabe des Sterbenden an die voyeuristischen Blicke des Publikums. Vor dem Hintergrund dieser Diskussion geht der Aufsatz der Frage nach, was es bedeutet, den Tod eines Menschen wie ein künstlerisches Werk zu inszenieren, und ordnet den Anspruch einer nicht nur ethischen, sondern auch ästhetischen Selbstbestimmung angesichts des Todes in die humanistische Tradition des modernen Werkgedankens ein.<br><br>In the spring of 2008, the artist Georg Schneider announced an art performance with a mortally ill person. Most of the responses to this art project were very critical. While the artist argued that the exhibition of a dying person should be understood as a humanistic intervention against the social taboo of death, commentators often criticized the exhibition as voyeuristic. Based on this discussion, the article explores what it means to stage a dying person as a piece of art and investigates the historical conditions of this project by locating the longing for ethic and aesthetic self-determination within the humanistic tradition of the modern concept of the work of art.

Being True to Works of Music

2020 ◽  
Author(s):  
Julian Dodd
Keyword(s):  
Work Performance ◽  
Classical Music ◽  
Christine Korsgaard ◽  
Historical Authenticity ◽  
Constitutive Norm ◽  
Western Classical Music

This book argues that the so-called ‘authenticity debate’ about the performance of works of Western classical music has tended to focus on a side issue. While much has been written about the desirability (or otherwise) of historical authenticity—roughly, performing works as they would have been performed, under ideal conditions, in the era in which they were composed—the most fundamental norm governing our practice of work performance is, in fact, another kind of kind of authenticity altogether. This is interpretive authenticity: being faithful to the performed work by virtue of evincing a profound, far-reaching, or sophisticated understanding of it. While, in contrast to other performance values, both score compliance authenticity (being true to the work by obeying its score) and interpretive authenticity are valued for their own sake in performance, only the latter is a constitutive norm of the practice in the sense introduced by Christine Korsgaard. This has implications for cases in which the demands of these two kinds of authenticity conflict with each other. In cases of genuine such conflict, performers should sacrifice a little score compliance for the sake of making their performance more interpretively authentic.

The politics of welfare

2021 ◽  
pp. 147488512110080
Author(s):  
Lois McNay
Keyword(s):  
Social Policy ◽  
Social Conditions ◽  
Radical Politics ◽  
Contemporary World ◽  
Welfare Institutions ◽  
The Social ◽  
Original Argument ◽  
Collective Activism ◽  
Historical Model ◽  
Valuable Role

Steven Klein’s excellent new book The Work of Politics is an innovative, insightful and original argument about the valuable role that welfare institutions may play in democratic movements for change. In place of a one-sided Weberian view of welfare institutions as bureaucratic instruments of social control, Klein recasts them in Arendtian terms as ‘worldly mediators’ or participatory mechanisms that act as channels for a radical politics of democratic world making. Although Klein is careful to modulate this utopian vision through a developed account of power and domination, I question the relevance of this largely historical model of world-building activism for the contemporary world of welfare. I point to the way that decades of neoliberal social policy have arguably eroded many of the social conditions and relations of solidarity that are vital prerequisites for collective activism around welfare.

scholarly journals Associations Between Music Training and the Dynamics of Writing Music by Hand

2020 ◽  
pp. 102986492097214
Author(s):  
Aurélien Bertiaux ◽  
François Gabrielli ◽  
Mathieu Giraud ◽  
Florence Levé
Keyword(s):  
Classical Music ◽  
Music Notation ◽  
Musical Score ◽  
Music Training ◽  
Video Recordings ◽  
Musical Structures ◽  
Music Recognition ◽  
High Level ◽  
Bottom To Top ◽  
Western Classical Music

Learning to write music in the staff notation used in Western classical music is part of a musician’s training. However, writing music by hand is rarely taught formally, and many musicians are not aware of the characteristics of their musical handwriting. As with any symbolic expression, musical handwriting is related to the underlying cognition of the musical structures being depicted. Trained musicians read, think, and play music with high-level structures in mind. It seems natural that they would also write music by hand with these structures in mind. Moreover, improving our understanding of handwriting may help to improve both optical music recognition and music notation and composition interfaces. We investigated associations between music training and experience, and the way people write music by hand. We made video recordings of participants’ hands while they were copying or freely writing music, and analysed the sequence in which they wrote the elements contained in the musical score. The results confirmed experienced musicians wrote faster than beginners, were more likely to write chords from bottom to top, and they tended to write the note heads first, in a flowing fashion, and only afterwards use stems and beams to emphasize grouping, and add expressive markings.

scholarly journals Linking musical metaphors and emotions evoked by the sound of classical music

2021 ◽  
pp. 030573562199123
Author(s):  
Simon Schaerlaeken ◽  
Donald Glowinski ◽  
Didier Grandjean
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Empirical Method ◽  
Mixed Effects Models ◽  
Musical Meaning ◽  
Linear Mixed Effects ◽  
Generalized Linear Mixed Effects ◽  
Perceptual Characteristics ◽  
Valence And Arousal ◽  
Western Classical Music

Musical meaning is often described in terms of emotions and metaphors. While many theories encapsulate one or the other, very little empirical data is available to test a possible link between the two. In this article, we examined the metaphorical and emotional contents of Western classical music using the answers of 162 participants. We calculated generalized linear mixed-effects models, correlations, and multidimensional scaling to connect emotions and metaphors. It resulted in each metaphor being associated with different specific emotions, subjective levels of entrainment, and acoustic and perceptual characteristics. How these constructs relate to one another could be based on the embodied knowledge and the perception of movement in space. For instance, metaphors that rely on movement are related to emotions associated with movement. In addition, measures in this study could also be represented by underlying dimensions such as valence and arousal. Musical writing and music education could benefit greatly from these results. Finally, we suggest that music researchers consider musical metaphors in their work as we provide an empirical method for it.

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