A RECOMMENDATION FOR AN APPROACH TO TEACHING THE PHENOMENONS WHICH FORM ANALYSIS OF FORM AND PERCEIVED TIME WITH GESTALT THEORY IN WORKS 6 AND 7 OF BELA BARTOK'S DUOS FOR TWO VIOLINS

Even though composing and musical form are one of the most controversial issues of the era, the composer or the instrumentalist has to grasp and examine the structural elements of the musical form correctly in order to grasp the spirit of the music to give what is desired during the performance. The stylistic parts of the music and their relations with each other have been researched on the basis of the motifs, which are the smallest building blocks of the musical form. When the musical form is expressed as "time made sound" (Langer, 1953: 135), it becomes necessary to write the formal unity in a way that appeals to the eye by taking the help of letters and numbers to explain the distribution of temporal elements in the form. Explaining the formal elements in the article with literary language and making them visible will help us to understand the perceptual form of music by helping to explain the temporal setup of Bartok's compositional logic with Gestalt theory. Thus, examining the structures that make up the whole with the principles of Gestalt theory, such as proximity and sameness, and making them visible with shapes will enable the music to be depicted and understood from a holistic perspective, regardless of the structure of the form. The act of schematizing what is heard, based on loudness and lengths, will enable us to see music as an element of perception, not theoretically. The aim of the study is to show the perceived time with the help of Gestalt theory, to make a holistic inference about how the individual perceives music, and to provide a perceptual analysis method to music independent of music theory. Keywords: Composer, Bartok, Music, Form, Form, violin, duet, string, Gestalt

Nicolai Hartmann und die Gestalttheorie. Ein Vergleich unter dem Aspekt “Kausalität”

Summary In 1919 Nicolai Hartmann (NH) convincingly justified that there cannot exist a “general law of causation” as A. Meinong had in mind. For him Meinong’s understanding of causation (linear, successive in time) was bound on the region of the physical layer of being, simultaneously postulating it as the only possible causation there. This is the starting point of the comparison between N. Hartmann‘s understanding of causation and that of the Gestalt Theory, for which neither in psychic nor in natural (physical) context linear-successive causality plays a part. Therefore NH’s conception of 1919 was still completely incompatible with that of the Gestalt Theory despite the fact that he was distancing himself from the “general law of causation” sensu Meinong. 20 years later he changed this by adding the “Wechselwirkung” (interaction) to the linear successive causation in the physical layer. In doing so he approached the Gestalt theoretical position but failed it insofar as for it his linear-successive understanding of causation generally has had its day with regard to natural processes, also consequently for the physical (instead interaction between system and border conditions applies, an interaction of field forces). Thus the term “causation“ had become free for a dynamic concept of causation which is equally appropriate for the physical and the psychic. NH makes this move not until 1949, shortly before his death, by writing: ... (see original quotation in the German summary above). It is the opinion of the author of this work that the ingenious systematics of NH‘s Critical Ontology (which is not a closed system) should make it possible to execute the necessary corrections in some details of his theory of layers without questioning the structure of his systematics, thus carrying out what NH was not able to do himself due to his death.

Pandemic Images and Gestalt Theory: Introspective Musings About a Series of Digital Art-works

Summary In this paper, the author shares his thoughts about the precedents, process, and significance of a series of “digital montage” artworks that he originated during the time of the COVID-19 pandemic. In particular, he talks about the indebtedness of these works to Gestalt theory, and particularly their use of what is sometimes known as “laws of seeing,” “unit-forming factors,” or inherent “grouping tendencies.”

The Application of Gestalt and Design Principles on Visual Based Games for Children

There are various visual games that we know, from puzzle, guess the picture, mix and match, and many more. Kids around the world play visual games because it is fun, imaginative, and stimulate their creativity. This research elaborates how visual games become more interested with the organization of visual elements through design principles and Gestalt theory. It proves that visualbased games are chosen by children and parents to develop their creativity and imagination.

Gestalt Theory: Its Past, Stranding and Future...

This article focuses on the contributions of the founders of Gestalt theory, not only for the high value they carried even back then, but also for the strong relevance they have today. The main purpose is to point to the deficient, even wrong transmission of this perspective particularly in the past 50 years and to highlight its potential to connect the immense amount of accumulated but disconnected scientific facts and pieces within psychology as of today. The first part of this article discusses Max Wertheimer’s important 1912 “phi phenomenon” article and recounts the Gestalt theorists’ launch of their influential journal Psychologische Forschungen in 1922, the rise of the oppressive and violent Nazi regime in Germany, and the resulting emigration of the Gestalt founders to the US where they had to face a radically different perspective to psychology. The second part discusses the main postulates of the theory, focusing on how the movement emerged, its main theoretical perspective, and its work on perception. In a second and third article (Mungan, 2021a; 2021b), I will review their intriguing research and conceptualizations on memory and productive thinking, respectively. Hence, the current article should be read as the first in a series of three.