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001439581 020__ $$a9783030858865$$q(electronic bk.)
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001439581 0247_ $$a10.1007/978-3-030-85886-5$$2doi
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001439581 1112_ $$aWorldwide Music Conference$$d(2021 :$$cOnline)
001439581 24510 $$aProceedings of the Worldwide Music Conference 2021.$$nVolume 2 /$$cIldar D. Khannanov, Roman Ruditsa, editors.
001439581 260__ $$aCham :$$bSpringer,$$c2021.
001439581 300__ $$a1 online resource (112 pages)
001439581 336__ $$atext$$btxt$$2rdacontent
001439581 337__ $$acomputer$$bc$$2rdamedia
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001439581 4901_ $$aCurrent Research in Systematic Musicology ;$$vv. 247
001439581 500__ $$a2.7 Dependence of Psychophysiological Features of the Perception of Music on the Given Compositional and Ethnic Musical Style.
001439581 500__ $$aIncludes author index.
001439581 5050_ $$aIntro -- Preface -- Contents -- Mathematics of Pitch and Interval -- Relative Musical Pitch in Formal Definition -- 1 Introduction -- 1.1 Subject of the Study -- 1.2 Clarifications -- 1.3 Aspects of Consideration of the Objects Under Study -- 1.4 Research Objectives and Methods -- 2 Preliminary (Informal) Overview of Research Objects -- 2.1 Tones and Intervals -- 2.2 Interval Structures and Interval Systems -- 2.3 Some Technical Concepts -- 2.4 Primary SPO Systems -- 2.5 Conjugacies of Interval Systems. Primary Conjugacies. The Aggregate of All SPO Systems -- 2.6 Some Comments
001439581 5058_ $$a3 Formal Definitions -- 3.1 Key Concepts -- 3.2 Some Generalizations and Definitions -- 3.3 Conjugations and Conjugacies of Interval Systems -- 3.4 Final Definitions: Interval Systems and Conjugacies of Interval Systems of the SPO -- 4 Final Notes -- References -- What Are Musical Intervals? A Question Recharged via an Algebraic Theory of Measurement -- 1 Motivation -- 2 A Refined Approach to an Algebraic Theory of Measurement -- Tailored to Capture a General Theory of Musical Intervals -- 3 Musical Side -- 4 Summary -- References -- Language and Narrative -- Thinking/Feeling Musical Narrative
001439581 5058_ $$a1 Introduction -- 2 The Concept of Narrative -- 3 Sound as Narrative Material -- 4 Musical Storytelling as Sonic Thinking -- 5 Conclusion -- References -- The Conceptual Structure of Music: Congruence, Modularity, and the Language of Musical Thought -- 1 Introduction -- 2 Perceptual Multiparametric Congruence -- 2.1 Basic Percepts -- 2.2 Complex Concepts -- 2.3 Rhythm and Metre -- 2.4 Chords and Harmony -- 3 Modularity -- 3.1 Evidence from Neuropsychology and Neuroscience -- 3.2 Schemas of Music Modularity -- 4 Perception and Cognition -- 4.1 The Language of Musical Thought -- 4.2 Central Systems
001439581 5058_ $$a5 Findings and Discussion -- References -- Evolution and Perception -- Correlations Between Musical and Biological Variation in Derivative Analysis -- 1 Introduction -- 2 The Model of Derivative Analysis -- 3 MDA's Biological Correspondences -- 3.1 Decontextualized Variation -- 3.2 Variation on Time -- 4 Concluding Remarks -- References -- To the Question of the Possibility of Identifying the Psychophysiological Signs of "Ethnic Hearing" as Differential Perception of "Native" and "Alien" Music -- 1 Introduction
001439581 5058_ $$a2 Objective Differentiation of the Signs of Musical Perception: A List of Possibilities -- 2.1 The Psychophysiological Signs of Musical Sensitivity -- 2.2 EMG and Temperature Indices of Music Perception -- 2.3 Neurobiological Indices of Music Perception -- 2.4 Dependence of the Psychophysiological Features of Music Perception on Neurohumoral Conditions -- 2.5 Dependence of the Psychophysiological Features of Music Perception on the Dominant Archetype Pattern -- 2.6 Dependence of Psychophysiological Features of the Perception of Music on the Dominant Sensor Modality Listener
001439581 506__ $$aAccess limited to authorized users.
001439581 520__ $$aThis Volume II of the Proceedings of the Worldwide Music Conference 2021 continues the line of publications of the first volume in a highly interdisciplinary mode. This time, we offer eight chapters that provide the in-depth study of music in four large sub-fields: mathematics, language and theory of narrative, evolution and perception, and, finally, sociology. The first chapter, by Roman Ruditsa, is devoted to the study of structural pitch organization. This is based upon a formal logical interpretation of the idea of pitch. The chapter contains formal definitions of such objects as tones, intervals, and interval systems and a demonstration of the logical relationships that exist between them. The second chapter, in the same mathematical venue, by Celina Richter and Stefan E. Schmidt, revisits the millennial question of the essence of an interval, using highly advanced mathematical language, the categories of monoid and the algebraic theory of measurement. The next block is dedicated to language and narrative; the first chapter is by Vincent Meelberg. Here, the reader will find fascinating developments in the ongoing deliberations on this elusive category. The name of Trevor Rawbone, perhaps, does not need an introduction to those involved with cognitive studies of music. This time, his chapter deals with the idea of the language of musical thought, which shifts the traditional discussion of language into a very new dimension. Carlos Almada begins a new section in the book, the one dedicated to evolution and perception. He begins with Darwin and takes us through the exciting path of development of the science of evolution, which he masterfully connects to his model of derivative analysis of music. The question of psycho-physiological foundation of the ethnic hearing, raised in the chapter by lla V. Toropova and Irina N. Simakova, is a difficult one. The idea of ethnic character of music had been a part of traditional musicology and usually was expressed in specific language of humanities. The chapter by Daniil Shutko on the theoretical ideas of the legendary professor of St. Petersburg conservatory, Dr. Tatiana Bershadskaya, was difficult to put into any category. Her concept of music was truly universal and interdisciplinary. At the same time, the concept and Shutkos description are as closely focused on music theory in a narrow and precise sense as possible. The art and culture of consumption of wine in correlation with the choice of music for listening is a theme for a true connoisseur. It becomes even more intriguing when the authors, Diego Perez-Fuertes, Emma Juaneda-Ayensa and Cristina Olarte-Pascual, add to the discussion the special circumstance of the pandemic and the way human spirit meets this challenge in the most graceful way.
001439581 588__ $$aOnline resource; title from PDF title page (SpringerLink, viewed September 23, 2021).
001439581 650_0 $$aMusic and science$$vCongresses.
001439581 650_0 $$aMusicology$$vCongresses.
001439581 650_6 $$aMusique et sciences$$vCongrès.
001439581 650_6 $$aMusicologie$$vCongrès.
001439581 655_7 $$aConference papers and proceedings.$$2fast$$0(OCoLC)fst01423772
001439581 655_0 $$aElectronic books.
001439581 7001_ $$aKhannanov, Ildar Damirovich.
001439581 7001_ $$aRuditsa, Roman.
001439581 77608 $$iPrint version:$$aKhannanov, Ildar D.$$tProceedings of the Worldwide Music Conference 2021.$$dCham : Springer International Publishing AG, ©2021$$z9783030858858
001439581 830_0 $$aCurrent research in systematic musicology ;$$v247.
001439581 852__ $$bebk
001439581 85640 $$3Springer Nature$$uhttps://univsouthin.idm.oclc.org/login?url=https://link.springer.com/10.1007/978-3-030-85886-5$$zOnline Access$$91397441.1
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001439581 982__ $$aEbook
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