The evolution of music semiology in Iran

2016 ◽  
Vol 7 (3) ◽  
pp. 60-64
Author(s):  
Mansoor Habibdoost
Keyword(s):  
Evolution Of Music

The Evolution of Music Therapy

2015 ◽  
Vol 26 (4) ◽  
pp. 207-221
Author(s):  
Wolfgang Mastnak
Keyword(s):  
Music Therapy ◽  
Evidence Based Medicine ◽  
Wide Spectrum ◽  
Evidence Based ◽  
Modern Music ◽  
Guided Imagery And Music ◽  
Theoretical Perspectives ◽  
International Importance ◽  
Evolution Of Music ◽  
Based Medicine

Abstract. Five overlapping eras or stages can be distinguished in the evolution of music therapy. The first one refers to the historical roots and ethnological sources that have influenced modern meta-theoretical perspectives and practices. The next stage marks the heterogeneous origins of modern music therapy in the 20th century that mirror psychological positions and novel clinical ideas about the healing power of music. The subsequent heyday of music therapeutic models and schools of thought yielded an enormous variety of concepts and methods such as Nordoff–Robbins music therapy, Orff music therapy, analytic music therapy, regulatory music therapy, guided imagery and music, sound work, etc. As music therapy gained in international importance, clinical applications required research on its therapeutic efficacy. According to standards of evidence-based medicine and with regard to clearly defined diagnoses, research on music therapeutic practice was the core of the fourth stage of evolution. The current stage is characterized by the emerging epistemological dissatisfaction with the paradigmatic reductionism of evidence-based medicine and by the strong will to discover the true healing nature of music. This trend has given birth to a wide spectrum of interdisciplinary hermeneutics for novel foundations of music therapy. Epigenetics, neuroplasticity, regulatory and chronobiological sciences, quantum physical philosophies, universal harmonies, spiritual and religious views, and the cultural anthropological phenomenon of esthetics and creativity have become guiding principles. This article should not be regarded as a historical treatise but rather as an attempt to identify theoretical landmarks in the evolution of modern music therapy and to elucidate the evolution of its spirit.

scholarly journals Knowledge Is Out There: A New Step in the Evolution of Music Digital Libraries

2016 ◽  
Vol 63 (4) ◽  
pp. 285-298
Author(s):  
Sergio Oramas ◽  
Mohamed Sordo
Keyword(s):  
Digital Libraries ◽  
Evolution Of Music

THE ORIGINS OF MUSIC: INNATENESS, UNIQUENESS, AND EVOLUTION

2005 ◽  
Vol 23 (1) ◽  
pp. 29-59 ◽  
Author(s):  
JOSH McDERMOTT ◽  
MARC HAUSER
Keyword(s):  
Side Effects ◽  
Music Perception ◽  
Comparative Psychology ◽  
General Purpose ◽  
Adaptive Significance ◽  
Future Research ◽  
Relative Pitch ◽  
The Past ◽  
Evolution Of Music ◽  
Basic Features

THE ORIGINS and adaptive significance of music, long an elusive target, are now active topics of empirical study, with many interesting developments over the past few years. This article reviews research in anthropology, ethnomusicology, developmental and comparative psychology, neuropsychology, and neurophysiology that bears on questions concerning the origins and evolution of music. We focus on the hypothesis that music perception is constrained by innate, possibly human- and musicspecific principles of organization, as these are candidates for evolutionary explanations. We begin by discussing the distinct roles of different fields of inquiry in constraining claims about innateness and adaptation, and then proceed to review the available evidence. Although research on many of these topics is still in its infancy, at present there is converging evidence that a few basic features of music (relative pitch, the importance of the octave, intervals with simple ratios, tonality, and perhaps elementary musical preferences) are determined in part by innate constraints. At present, it is unclear how many of these constraints are uniquely human and specific to music. Many, however, are unlikely to be adaptations for music, but rather are probably side effects of more general-purpose mechanisms. We conclude by reiterating the significance of identifying processes that are innate, unique to humans, and specific to music, and highlight several possible directions for future research.

The Unification of the Arts

2021 ◽  
Author(s):  
Steven Brown
Keyword(s):  
Cultural Evolution ◽  
Visual Art ◽  
Comparative Approach ◽  
New Approach ◽  
Aesthetic Responses ◽  
Music And Language ◽  
The Arts ◽  
Dance Movements ◽  
Evolution Of Music

The Unification of the Arts presents the first integrated cognitive account of the arts that attempts to unite all of the arts into a single framework, covering visual art, theatre, literature, dance, and music, with supporting discussions about creativity and aesthetics that span all of the arts. The book’s comparative approach identifies both what is unique to each artform and what artforms share with one another. An understanding of shared mechanisms sheds light on how the arts are able to combine with one another to form syntheses, such as choreographing dance movements to music, or setting lyrics to music to create a song. While most psychological analyses of the arts focus on perceptual mechanisms alone—most commonly aesthetic responses—the book offers a holistic sensorimotor account of the arts that examines the full gamut of processes from creation to perception for each artform. This allows for a broad discussion of the evolution of the arts, including the origins of rhythm, the co-evolution of music and language, the evolution of drawing, and cultural evolution of the arts. Finally, the book aims to unify a number of topics that have not been adequately related to one another in previous discussions, including theatre and literature, music and language, creativity and aesthetics, dancing and acting, and visual art and music. The Unification of the Arts provides a bold new approach to the integration of the arts, one that covers cognition, evolution, and neuroscience.

Handel to Tempah

Migrant City ◽  
2020 ◽  
pp. 281-306
Author(s):  
Panikos Panayi
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
National Level ◽  
Cultural Transfer ◽  
External Influences ◽  
Short Run ◽  
Early Eighteenth Century ◽  
Evolution Of Music

This chapter explores how migrants have contributed to the evolution of music in London. Despite episodes of xenophobia in the London musical scene, xenophilia became stronger, partly driven by the fact that both music and musicians inevitably migrate. This is so that, while national traditions of music may emerge, the process of cultural transfer involving both sound and people mean that such traditions cannot remain sealed off from external influences, even if they may develop national-level identities, at least in the short run. While music and musicians crossed European boundaries, during the twentieth century both performers and their tunes have increasingly spanned global and consequently racial divides. The German assertion that nineteenth-century Britain constituted a ‘Land ohne Musik’ (land without music), while an exaggeration, partly explains the arrival of foreign musicians to Victorian London and the eras before and since. The constant settlement and visits by musicians to the British capital since the early eighteenth century meant that London did not become a city without music, even if the tunes and those who played them often originated from abroad.

Ecological and psychological factors in the cultural evolution of music

2021 ◽  
Vol 44 ◽  
Author(s):  
Thom Scott-Phillips ◽  
Atsuko Tominaga ◽  
Helena Miton
Keyword(s):  
Cultural Evolution ◽  
Psychological Factors ◽  
Cognition And Culture ◽  
Evolution Of Music ◽  
The Relationship

Abstract The two target articles agree that processes of cultural evolution generate richness and diversity in music, but neither address this question in a focused way. We sketch one way to proceed – and hence suggest how the target articles differ not only in empirical claims, but also in their tacit, prior assumptions about the relationship between cognition and culture.

Information Retrieval Technologies and the “Realities” of Music Information Seeking

2016 ◽  
pp. 102-121
Author(s):  
Charilaos Lavranos ◽  
Petros Kostagiolas ◽  
Joseph Papadatos
Keyword(s):  
Information Retrieval ◽  
Information Seeking ◽  
Research Area ◽  
Music Technology ◽  
Information Seeking Behavior ◽  
Seeking Behavior ◽  
Evolution Of Music ◽  
Music Information ◽  
Search And Retrieval ◽  
The Way

Music information seeking incorporates the human activities that are carried out for the search and retrieval of music information. In recent years, the evolution of music technology holds a central role affecting the nature of music information seeking behavior. The research area that deals with the accessibility and the retrievability process of music information is known as Music Information Retrieval (MIR). This chapter focuses on the presentation of MIR technologies which has a direct impact in the way that individuals, as well as different music communities such as composers, performers, listeners, musicologists, etc., handle and utilize music information. The aim of this chapter is to investigate the way different music communities interact with MIR systems. Our approach is based on a selected literature review regarding the MIR systems and the information seeking behavior of the musicians.

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