Perception, time and music analysis: an introduction to analytic-generative methodology
Gespeichert in:
1. Verfasser: | |
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Format: | Abschlussarbeit Buch |
Sprache: | English |
Veröffentlicht: |
Heslinki
Univ. of Helsinki, Dep. of Philosophy, History, Culture and Art Studies
2013
|
Schriftenreihe: | Studia musicologica Universitatis Helsingiensis
23 |
Schlagworte: | |
Online-Zugang: | Inhaltsverzeichnis |
Beschreibung: | 231 S. Ill., graph. Darst., Notenbeisp. |
ISBN: | 9789521087158 |
Internformat
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245 | 1 | 0 | |a Perception, time and music analysis |b an introduction to analytic-generative methodology |c by Timo Laiho |
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Datensatz im Suchindex
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adam_text | CONTENTS
Abstract
............................................................................................................................ix
Preface and Acknowledgements
....................................................................................
χ
Part One
Towards the Preconditions of Musical Cognition and Analysis
1
PRELIMINARY ISSUES
.........................................................................3
1.1
Introductory Remark
.............................................................................................3
1.2
Music Analysis and Musical Perception. What is the Role of Perception in
Music Analysis?
............................................................................................................4
1.3
Objective vs. Subjective Knowledge of Musical Experience
...........................7
1.4
Positivistic Influence as a Scientific Ideal in Music Theory and Analysis
. 10
1.5
Relationships Between Music Theory, Analysis and Perception
................15
2
WHAT IS ANALYSIS?
........................................................................22
2.1
Some General Definitions
..................................................................................22
2.2 Adornos
Insights of Analysis
...........................................................................24
2.3
Adorno s Truth Content: Analysis as Cognition and Becoming
..............27
2.4
Towards an Analysis of Becoming
................................................................32
2.5
Introduction of the Analytic Concept of Musical Vector (muV)
................35
2.6
Analysis
#1:
Musical Vectors and the Counter-Subject s Directionality
in Mahler s Fourth Symphony
................................................................................40
2.7
Summary of Chapters
1-2.................................................................................48
xvi _
PERCEPTION,
TIME AND MUSIC ANALYSIS
3
PERCEPTION, SENSATION AND COGNITION: THE
STRUCTURAL ORGANIZATION OF COGNITIVE PROCESSING
.....52
3.1
Perception vs. Sensation
....................................................................................52
3.2
The Problem of High- and Low-Level Processing of Perceptual Systems
..55
3.3
The Critiques Against the Computational Modelling of Cognition
...........58
3.3.1
Gödel s
Theorems and the Non-Computability of Consciousness
...59
3.3.2
Computation and the Structural Features of Formal Languages
.......61
3.3.2.1
Searle s Critique
..........................................................................62
3.3.2.2
The Problem of Initial Conditions
..........................................64
3.4
The Generative/Reductive Principles of
Тор
-Down
and Bottom-Up
Processing
..................................................................................................................68
3.4.1
The Top-Down Organization and Introduction
of the Principle of Higher-Order Reduction (R2)
.....................................68
3.4.2
The Generative/Reductive Principles of Bottom-Up Processing
......70
3.5
Conclusions
.........................................................................................................74
4
FORMALITY OF FUSIC ANALYSIS: EXAMPLES OF
PROLONGATION AND SEGMENTATION
...........................................78
4.1
The Concept of Prolongation
...........................................................................80
4.1.1
General Structural Principles
..................................................................80
4.1.2
Prolongation in Atonal Context
.............................................................84
4.2
The Problem of Segmentation
..........................................................................90
5
NON-CONCEPTUALITY AND SENSATION: THE PRINCIPLES OF
DIFFERENTIATION
..............................................................................96
5.1
Non-Conceptual Mental Content
....................................................................96
5.2
Priority of Sensation?
.......................................................................................100
5.3
Analysis
#2:
Differentiation and the Principles of Visual Grouping
.........103
6
COGNITIVE MODEL: THE FOUNDATIONS OF SUB-SEMIOTIC
ANALYSIS
............................................................................................
109
6.1
Overview
............................................................... 109
6.2
ReiDejconstructing the Sign Structure
.........................................................112
CONTENTS — xvii
6.2.1 Saussure
and the
Concept
of the Linguistic Sign
...............................113
6.2.2
Peirce s Tripartition
...............................................................................118
6.2.3
Icon-Index-Symbol: Towards Peircean Dynamism
..........................124
6.2.3.1
Symbol
-
The Level of Thirdness
..........................................124
6.2.3.2
Icon
-
The Level of Firstness
.................................................126
6.2.3.3
Index
-
The Level of Secondness
..........................................131
6.3
Cognitive Model and Differentiation as a Basis of
Sub-Semiotic Analysis
...........................................................................................135
6.3.1
Relation to Peircean Sign-Theory
........................................................135
6.3.2
Differentiation as Diacritics and
Dìfférance
......................................138
6.3.3
Analysis
#3:
Differentiation and Contextuality in Schoenberg s
opening of Op.
19 ........................................................................................144
6.3.4
Generalized Principles
...........................................................................149
Part Two
The methodology of AGM: Analytic Concepts and Musical Examples
7
ANALYTIC CONCEPTS AND THE THEORETICAL FRAMEWORK
..................................................................................................................165
7.1
Classification of Analytic Concepts
................................................................165
7.2
Differentiation as Movement: Interval-Time -Complex (intiC)
...............166
7.2.1
Analyses
#4
and
#5:
The Structural Principles of Pitch Perception
and the Formation of Harmonic Spectrum
.................................................173
7.2.2
Analyses
#6
and
#7:
Examples of the Analytical Concept of intiC
..181
7.3
Analyses
#8
and
#9:
Examples of the Analytical concept of muV
.............190
7.3.1
Two Further Considerations Related to the Analytical Concepts
of intiC and muV
.............................................................................................202
7.4
A Summary of the Principles of Differentiation in Relation to
the Milieu and Territorial Structures
-
Analysis
#10.........................................211
8
CONCLUSIONS
................................................................................215
BIBLIOGRAPHY
..................................................................................223
|
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author | Laiho, Timo 1957- |
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bvnumber | BV041085291 |
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institution | BVB |
isbn | 9789521087158 |
language | English |
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series2 | Studia musicologica Universitatis Helsingiensis |
spelling | Laiho, Timo 1957- Verfasser (DE-588)1035778491 aut Perception, time and music analysis an introduction to analytic-generative methodology by Timo Laiho Heslinki Univ. of Helsinki, Dep. of Philosophy, History, Culture and Art Studies 2013 231 S. Ill., graph. Darst., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Studia musicologica Universitatis Helsingiensis 23 Zugl.: Helsinki, Univ., Diss., 2013 Musikalische Semiotik (DE-588)4195308-3 gnd rswk-swf Musikwahrnehmung (DE-588)4126097-1 gnd rswk-swf Zeit Motiv (DE-588)4207564-6 gnd rswk-swf Musikalische Analyse (DE-588)4040814-0 gnd rswk-swf Poststrukturalismus (DE-588)4137176-8 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Musikwahrnehmung (DE-588)4126097-1 s Musikalische Analyse (DE-588)4040814-0 s Musikalische Semiotik (DE-588)4195308-3 s Poststrukturalismus (DE-588)4137176-8 s Zeit Motiv (DE-588)4207564-6 s DE-604 Studia musicologica Universitatis Helsingiensis 23 (DE-604)BV010346576 23 Digitalisierung BSB Muenchen 3 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026061992&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
spellingShingle | Laiho, Timo 1957- Perception, time and music analysis an introduction to analytic-generative methodology Studia musicologica Universitatis Helsingiensis Musikalische Semiotik (DE-588)4195308-3 gnd Musikwahrnehmung (DE-588)4126097-1 gnd Zeit Motiv (DE-588)4207564-6 gnd Musikalische Analyse (DE-588)4040814-0 gnd Poststrukturalismus (DE-588)4137176-8 gnd |
subject_GND | (DE-588)4195308-3 (DE-588)4126097-1 (DE-588)4207564-6 (DE-588)4040814-0 (DE-588)4137176-8 (DE-588)4113937-9 |
title | Perception, time and music analysis an introduction to analytic-generative methodology |
title_auth | Perception, time and music analysis an introduction to analytic-generative methodology |
title_exact_search | Perception, time and music analysis an introduction to analytic-generative methodology |
title_full | Perception, time and music analysis an introduction to analytic-generative methodology by Timo Laiho |
title_fullStr | Perception, time and music analysis an introduction to analytic-generative methodology by Timo Laiho |
title_full_unstemmed | Perception, time and music analysis an introduction to analytic-generative methodology by Timo Laiho |
title_short | Perception, time and music analysis |
title_sort | perception time and music analysis an introduction to analytic generative methodology |
title_sub | an introduction to analytic-generative methodology |
topic | Musikalische Semiotik (DE-588)4195308-3 gnd Musikwahrnehmung (DE-588)4126097-1 gnd Zeit Motiv (DE-588)4207564-6 gnd Musikalische Analyse (DE-588)4040814-0 gnd Poststrukturalismus (DE-588)4137176-8 gnd |
topic_facet | Musikalische Semiotik Musikwahrnehmung Zeit Motiv Musikalische Analyse Poststrukturalismus Hochschulschrift |
url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026061992&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
volume_link | (DE-604)BV010346576 |
work_keys_str_mv | AT laihotimo perceptiontimeandmusicanalysisanintroductiontoanalyticgenerativemethodology |