Acoustic spaces of Fritz Kater’s dramatic collages

The article examines the GDR Trilogy by Fritz Kater as a dramatic collage, characterized by the multiplicity and heterogeneity of its constituent elements, re-coding the meanings of each fragment in the context of the whole, synthesis of various dramatic and epic techniques, elements of music, painting and other types of arts. The relations of connection, repulsion, parallelism, contrast that arise between the scenes in the context of the trilogy are traced. The authors strategy of constructing an auditory image in the play is described. On the example of the first of the plays Vineta or Vodomania / Vineta or Oderwassersucht, 2001), the author analyzes the sound score written in the authors remarks, emphasizing the division of the piece into two parts according to the principle of the golden section. The motive analysis used in the article shows how the extra-musical sound palette of the play, built in the spirit of John Cage, reveals and enhances the motive of loss the main motive of the first movement, and the silence that occurred in the last scenes helps to highlight the shame-motive that arises in them. Musical fragments of the play are associated with the mythological image of the sunken city, the lost paradise, the flourishing Vineta.

CITRAAN DALAM KUMPULAN PUISI ABDUL SALAM HS “MALAIKAT WARINGIN”

Poetry is arranged beautiful words and understood by the readers. Therefore, poetry is inseparable from the accuracy of the language which is arranged aesthetically and creatively so that the meaning of poetry can be conveyed properly. Interpretive descriptive of images is used as the technique of this research. Image, as a way of looking at the meaning, is identified through the human senses. The method used is interpretative qualitative research method. The formulation of the problem is how the image in the poetru collection of Abdul Salam HS entitled "Malaikat Waringin". The purpose of this research is to describe the image in Abdul Salam HS‟ Poetry Collection. The results from analyzing fifty poems contained in the poetry collection entitled "Malaikat Waringin", it showed that there are 17 visual image data, 9 auditory image data, 4 smell and taste image images, and 6 visualization image data.

Tonal hierarchy representations in auditory imagery

Two experiments investigated psychological representations of musical tonality in auditory imagery. In Experiment 1, musically trained participants heard a single tone as a perceptual cue and built an auditory image of a specified major tonality based on that cue; participants’ images were then assessed using judgments of probe tones. In Experiment 2 participants imaged a minor tonality rather than a major one. Analysis of the probe tone ratings indicated that participants successfully imaged both major and minor tonal hierarchies, demonstrating that auditory imagery functions comparably to auditory perception. In addition, the strength of the major tonal image was dependent upon the pitch and tonal relations of the perceptual cue and the to-be-imaged tonality. Finally, representations of minor tonal hierarchies were less robust than those of major ones, converging with perceptual evidence that minor tonalities are less psychologically stable than major tonalities.

Pitch Imitation Ability in Mental Transformations of Melodies

Previous research suggests that individuals with a Vocal Pitch Imitation Deficit (VPID, a.k.a. “poor-pitch singers”) experience less vivid auditory images than accurate imitators (Pfordresher & Halpern, 2013), based on self-report. In the present research we sought to test this proposal directly by having accurate and VPID imitators produce or recognize short melodies based on their original form (untransformed), or after mentally transforming the auditory image of the melody. For the production task, group differences were largest during the untransformed imitation task. Importantly, producing mental transformations of the auditory image degraded performance for all participants, but were relatively more disruptive to accurate than to VPID imitators. These findings suggest that VPID is due partly to poor initial imagery formation, as manifested by production of untransformed melodies. By contrast, producing a transformed mental image may rely on working memory ability, which is more equally matched across participants. This interpretation was further supported by correlations with self-reports of auditory imagery and measures of working memory.