scholarly journals Reading Textural Functions, Instrumental Techniques, and Space Through Partition Complexes

2020 ◽  
Vol IV (2) ◽  
pp. 80-97
Author(s):  
Pauxy Gentil-Nunes
Keyword(s):  
Spatial Relations ◽  
Compositional Process ◽  
Concert Music ◽  
Musical Practice ◽  
Partition Analysis ◽  
Repertoire Analysis ◽  
Musical Texture

Partitional complexes are sets of discrete textural configurations (called shortly of partitions in Partition Analysis) that successfully interact to construct a global textural structure. This textural mode is called the Textural Proposal of a piece, where referential partitions (those that represent the main features of textural configurations in the excerpt) stand out. This conceptual environment, developed in musical texture formalization through observation and musical repertoire analysis, is now applied to musical practice. In the present work, we highlight three of these situations. The first one deals with the creative flow (compositional process) and its relation with textural planning. The second observes how these same textural functions condition the body's physical coupling to the instrument (fingers, hands, pedals, instrumentation). Finally, just as an introduction, we envisage some spatial relations, involving instrument distribution on stage, emphasizing historical concert music.

Composition

2020 ◽  
pp. 450-465
Author(s):  
Joseph Dubiel
Keyword(s):  
String Quartet ◽  
Compositional Process ◽  
Concert Music ◽  
Musical Cultures ◽  
Prominent Line

The activity of composition is little discussed in philosophy, understandably due to its disunity across musical cultures. In the context of the individually composed concert music that has preoccupied the discipline, composing and the composer are often invoked figuratively as objects of a kind of engagement expected of the listener. This figure has survived a reversal of direction in a prominent line of anti-modern musical critique, in which composers can be faulted for not proceeding in ways that match those to which listeners supposedly are bound. In a music-analytical example drawn from the finale of Ruth Crawford Seeger’s String Quartet, alternatives are offered to these views. Explicit compositional procedures, realizing Crawford’s radical conception of dissonance, are regarded as influential upon, not definitive of, audible traits of what they produce; and the utility of these procedures is seen as including idle, indirect, and even counter-productive elements. Awareness of compositional process, and of the conceptions in which it is embedded, may substantially affect audition and appreciation.

Improved preservation of the otolithic membranes

1987 ◽  
Vol 45 ◽  
pp. 914-915
Author(s):  
G. M. Cohen ◽  
J. S. Grasso ◽  
M. L. Domeier ◽  
P. T. Mangonon
Keyword(s):  
Toluidine Blue ◽  
Potassium Phosphate ◽  
Vestibular Function ◽  
Spatial Relations ◽  
White Leghorn ◽  
Supporting Cells ◽  
Semithin Sections ◽  
Micromechanical Models ◽  
Soluble Components

Any explanation of vestibular micromechanics must include the roles of the otolithic and cupular membranes. However, micromechanical models of vestibular function have been hampered by unresolved questions about the microarchitectures of these membranes and their connections to stereocilia and supporting cells. Otolithic membranes are notoriously difficult to preserve because of severe shrinkage and loss of soluble components. We have empirically developed fixation procedures that reduce shrinkage artifacts and more accurately depict the spatial relations between the otolithic membranes and the ciliary bundles and supporting cells.We used White Leghorn chicks, ranging in age from newly hatched to one week. The inner ears were fixed for 3-24 h in 1.5-1.75% glutaraldehyde in 150 mM KCl, buffered with potassium phosphate, pH 7.3; when postfixed, it was for 30 min in 1% OsO4 alone or mixed with 1% K4Fe(CN)6. The otolithic organs (saccule, utricle, lagenar macula) were embedded in Araldite 502. Semithin sections (1 μ) were stained with toluidine blue.

Experiment role in the world music (based on the «The Road» album of the Ukrainian «Dakha Brakha» band)

2018 ◽  
pp. 215-227
Author(s):  
Iia Fedorova
Keyword(s):  
Folk Music ◽  
World Music ◽  
The Other ◽  
Modern Music ◽  
Musical Practice ◽  
The Road ◽  
Music Practice ◽  
The World ◽  
Binary Oppositions ◽  
Musical Practices

The main objective of this study is the substantiation of experiment as one of the key features of the world music in Ukraine. Based on the creative works of the brightest world music representatives in Ukraine, «Dakha Brakha» band, the experiment is regarded as a kind of creative setting. Methodology and scientific approaches. The methodology was based on the music practice theory by T. Cherednychenko. The author distinguishes four binary oppositions, which can describe the musical practice. According to one of these oppositions («observance of the canon or violation of the canon»), the musical practices, to which the Ukrainian musicology usually classifies the world music («folk music» and «minstrel music»), are compared with the creative work of «Dakha Brakha» band. Study findings. A lack of the setting to experiment in the musical practices of the «folk music» and «minstrel music» separates the world music musical practice from them. Therefore, the world music is a separate type of musical practice in which the experiment is crucial. The study analyzed several scientific articles of Ukrainian musicologists on the world music; examined the history of the Ukrainian «Dakha Brakha» band; presented a list of the folk songs used in the fifth album «The Road» by «Dakha Brakha» band; and showed the degree of the source transformation by musicians based on the example of the «Monk» song. The study findings can be used to form a comprehensive understanding of the world music musical practice. The further studies may be related to clarification of the other parameters of the world music musical practice, and to determination of the experiment role in creative works of the other world music representatives, both Ukrainian and foreign. The practical study value is the ability to use its key provisions in the course of modern music in higher artistic schools of Ukraine. Originality / value. So far, the Ukrainian musicology did not consider the experiment role as the key one in the world music.

A Universe of Societies

2018 ◽  
Author(s):  
Didier Debaise
Keyword(s):  
Spatial Relations ◽  
The Third ◽  
The Status ◽  
History Of ◽  
Temporal And Spatial

Which kind of relation exists between a stone, a cloud, a dog, and a human? Is nature made of distinct domains and layers or does it form a vast unity from which all beings emerge? Refusing at once a reductionist, physicalist approach as well as a vitalistic one, Whitehead affirms that « everything is a society » This chapter consequently questions the status of different domains which together compose nature by employing the concept of society. The first part traces the history of this notion notably with reference to the two thinkers fundamental to Whitehead: Leibniz and Locke; the second part defines the temporal and spatial relations of societies; and the third explores the differences between physical, biological, and psychical forms of existence as well as their respective ways of relating to environments. The chapter thus tackles the status of nature and its domains.

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