scholarly journals Music Theory as Productivity

2013 ◽  
Vol 20 (2) ◽  
pp. 16-30
Author(s):  
Adam Krims

The author here proposes Julia Kristeva's notion of "productivity" as a way of conceiving of the relations between different theories of music. By such a notion, rather than confirming, disconfirming, or exemplifying a theory, a particular musical work (or works) may redistribute the theory. The redistribution, in fact, might not only modify the initial theory—something certainly not original to productivity—but may also bring it into articulation with fundamentally opposed models of musical function, without which, nevertheless, the original theory remains incomplete. An extended example is adduced from Schubert's Schubert's Impromptu in G-flat Major, D. 899, in connection with, first, Schenker's Free Composition (Der freie Satz), and second, Schoenberg's Theory of Harmony (Harmonielehre); Schenker's inconsistent practice with respect to first-order neighbours, along with certain issues in the Impromptu, become the occasion for examining a case of productivity.

As the art that calls most attention to temporality, music provides us with profound insight into the nature of time, and time equally offers us one of the richest lenses through which to interrogate musical practice and thought. In this volume, musical time, arrayed across a spectrum of genres and performance/compositional contexts is explored from a multiplicity of perspectives. The contributions to the volume all register the centrality of time to our understanding of music and music-making and offer perspectives on time in music, particularly though not exclusively attending to contemporary forms of musical work. In sharing insights drawn from philosophy, music theory, ethnomusicology, psychology of performance and cultural studies, the book articulates a range of understandings on the metrics, politics and socialities woven into musical time.


2021 ◽  
Vol 22 (2) ◽  
pp. 100-104
Author(s):  
Peter Angga Branco De'Vries Mau ◽  
Prima Dona Hapsari

Modes in Modality concept is a musical thinking that was used before 1600s. After 1600s (Baroque Era), the concept of modes changed into a contrast concept called Tonality (major-minor) and still exist today, in our era. Musical knowledge will evolve along with technological advances, but in fact there are so many composers today using the concept of modes to give another nuance and interpretation in their musical works. As academic musicians, surely the students of Music Department of ISI Yogyakarta got the concept of modes in several subject such as music theory, music structure and style, music analysis, and etc. However, the tonality concept that always used by common academic musicians today makes the concept of Modality become so hard to identify if they are heard a musical work that contains modes. This research will show us how many students of Music Department of ISI Yogyakarta who can’t identify a musical work that contains modes.


1989 ◽  
Vol 04 (10) ◽  
pp. 953-959 ◽  
Author(s):  
LUIS MASPERI ◽  
RAFAEL MONTEMAYOR

We present the BRST quantization of massive vector bosons. From the original constrained theory with its second class algebra, we construct equivalent gauge theories in adequately enlarged phase spaces, using both Lagrange multipliers and the Stückelberg approach. These new theories are developed in the context of first order formalism showing that the resultant sets of BRST invariant states are equivalent to the physical states of the original theory.


2012 ◽  
Vol 29 (3) ◽  
pp. 331-341 ◽  
Author(s):  
Christopher Naughton

In many countries it has become commonplace for students at school to undertake their own composing in the classroom. At the same time students often develop their own creative musical interests outside school hours. This paper looks at how teachers might re-evaluate students’ self-initiated compositional activity. By utilising Martin Heidegger's writing, this paper seeks to contextualise a philosophical position in relation to the musical work and to question how we as educators envision the student's music, and ultimately how we come to understand and evaluate a student's work. With reference to the field of music theory and music education the intention of this paper is to open a discussion examining how we might view music as an art object seen within its own context. With reference to a case study of a student working in an online environment parallels are drawn between Heidegger's depiction of an art object as a ‘thing’ located and valued in its own context, as opposed to music seen as an object that is de-contextualised from an audience or its place of making.


2019 ◽  
Vol 42 ◽  
Author(s):  
Daniel J. Povinelli ◽  
Gabrielle C. Glorioso ◽  
Shannon L. Kuznar ◽  
Mateja Pavlic

Abstract Hoerl and McCormack demonstrate that although animals possess a sophisticated temporal updating system, there is no evidence that they also possess a temporal reasoning system. This important case study is directly related to the broader claim that although animals are manifestly capable of first-order (perceptually-based) relational reasoning, they lack the capacity for higher-order, role-based relational reasoning. We argue this distinction applies to all domains of cognition.


1984 ◽  
Vol 75 ◽  
pp. 461-469 ◽  
Author(s):  
Robert W. Hart

ABSTRACTThis paper models maximum entropy configurations of idealized gravitational ring systems. Such configurations are of interest because systems generally evolve toward an ultimate state of maximum randomness. For simplicity, attention is confined to ultimate states for which interparticle interactions are no longer of first order importance. The planets, in their orbits about the sun, are one example of such a ring system. The extent to which the present approximation yields insight into ring systems such as Saturn's is explored briefly.


Author(s):  
Richard J. Spontak ◽  
Steven D. Smith ◽  
Arman Ashraf

Block copolymers are composed of sequences of dissimilar chemical moieties covalently bonded together. If the block lengths of each component are sufficiently long and the blocks are thermodynamically incompatible, these materials are capable of undergoing microphase separation, a weak first-order phase transition which results in the formation of an ordered microstructural network. Most efforts designed to elucidate the phase and configurational behavior in these copolymers have focused on the simple AB and ABA designs. Few studies have thus far targeted the perfectly-alternating multiblock (AB)n architecture. In this work, two series of neat (AB)n copolymers have been synthesized from styrene and isoprene monomers at a composition of 50 wt% polystyrene (PS). In Set I, the total molecular weight is held constant while the number of AB block pairs (n) is increased from one to four (which results in shorter blocks). Set II consists of materials in which the block lengths are held constant and n is varied again from one to four (which results in longer chains). Transmission electron microscopy (TEM) has been employed here to investigate the morphologies and phase behavior of these materials and their blends.


1991 ◽  
Vol 3 (1) ◽  
pp. 235-253 ◽  
Author(s):  
L. D. Philipp ◽  
Q. H. Nguyen ◽  
D. D. Derkacht ◽  
D. J. Lynch ◽  
A. Mahmood

Author(s):  
Julian M. Etzel ◽  
Gabriel Nagy

Abstract. In the current study, we examined the viability of a multidimensional conception of perceived person-environment (P-E) fit in higher education. We introduce an optimized 12-item measure that distinguishes between four content dimensions of perceived P-E fit: interest-contents (I-C) fit, needs-supplies (N-S) fit, demands-abilities (D-A) fit, and values-culture (V-C) fit. The central aim of our study was to examine whether the relationships between different P-E fit dimensions and educational outcomes can be accounted for by a higher-order factor that captures the shared features of the four fit dimensions. Relying on a large sample of university students in Germany, we found that students distinguish between the proposed fit dimensions. The respective first-order factors shared a substantial proportion of variance and conformed to a higher-order factor model. Using a newly developed factor extension procedure, we found that the relationships between the first-order factors and most outcomes were not fully accounted for by the higher-order factor. Rather, with the exception of V-C fit, all specific P-E fit factors that represent the first-order factors’ unique variance showed reliable and theoretically plausible relationships with different outcomes. These findings support the viability of a multidimensional conceptualization of P-E fit and the validity of our adapted instrument.


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