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This book comprises twelve articles which cover a range of topics
from musical instrument acoustics to issues in psychoacoustics and
sound perception as well as neuromusicology. In addition to
experimental methods and data acquisition, modeling (such as FEM or
wave field synthesis) and numerical simulation plays a central role
in studies addressing sound production in musical instruments as
well as interaction of radiated sound with the environment. Some of
the studies have a focus on psychoacoustic aspects in regard to
virtual pitch and timbre as well as apparent source width (for
techniques such as stereo or ambisonics) in music production. Since
musical acoustics imply subjects playing instruments or singing in
order to produce sound according to musical structures, this area
is also covered including a study that presents an artificial
intelligent agent capable to interact with a real ('analog') player
in musical genres such as traditional and free jazz.
This book comprises twelve articles which cover a range of topics
from musical instrument acoustics to issues in psychoacoustics and
sound perception as well as neuromusicology. In addition to
experimental methods and data acquisition, modeling (such as FEM or
wave field synthesis) and numerical simulation plays a central role
in studies addressing sound production in musical instruments as
well as interaction of radiated sound with the environment. Some of
the studies have a focus on psychoacoustic aspects in regard to
virtual pitch and timbre as well as apparent source width (for
techniques such as stereo or ambisonics) in music production. Since
musical acoustics imply subjects playing instruments or singing in
order to produce sound according to musical structures, this area
is also covered including a study that presents an artificial
intelligent agent capable to interact with a real ('analog') player
in musical genres such as traditional and free jazz.
This volume contains articles most of which present empirical
studies in the field of systematic musicology. Contributions in
particular deal with aspects of melody including modeling and
computer-assisted analysis as well as with various issues in sound
and music perception, musical acoustics and psychoacoustics. Topics
range from loudness perception in ‘Techno’ music to sound
radiation in classical singing styles, and from timbre research to
wave field synthesis and room acoustics. One focus of this volume
is on pop and rock music, another is on ethno and folk music. In
addition to empirical investigations, theoretical and
methodological issues are addressed including some fundamental
concepts in ethnomusicology and folk music scholarship.
This volume presents essays on the theory, methodology, and
disciplinary history of Systematic and Comparative Musicology as
well as on concepts of current empirical research. Part 1 is
devoted to Systematic Musicology which is viewed as a
transdisciplinary approach to fundamental music research, on the
one hand, and as a field of learning which is offered as an
academic subject in universities, on the other. Part 1 also
includes articles which illustrate modern research concepts many of
which are based on experimental and other empirical methods as well
as on computational and modelling approaches. The articles concern
problems which range from acoustics and psychoacoustics to
neuromusicology and music cognition. Part 2 addresses issues in
Comparative Musicology and Ethnomusicology, for instance the
relevance of comparative methods as applied to the study of
non-western musical phenomena. Further, sound analysis combined
with fieldwork as well as modelling based on ethnomathematical
considerations are given special notice. Aspects of theory and
disciplinary history are also covered in this section which
moreover includes findings obtained from actual fieldwork.
Traditionsgema wei sich musikwissenschaftliche Forschung in
Deutschland der schriftlich festgehaltenen Musik verpflichtet. Die
Auseinandersetzung mit jenen Musikrichtungen, die im 20.
Jahrhundert fur Millionen von Menschen immer groere Bedeutung
bekommen haben-Unterhaltungs- und Tanzmusik, Rock, Pop und
Jazz-wurde zwar schon von Guido Adler in seinem programmatischen
Entwurf einer historischen und systematischen Musikwissenschaft
eingefordert, aber nur zogerlich eingelost. Das allerdings darf
nicht daruber hinwegtauschen, dass eine ernst zu nehmende
Popularmusikforschung in Deutschland seit mittlerweile gut 40
Jahren existiert. So auch in Hamburg, wo im Rahmen
musik-psychologischer, -soziologischer und -ethnologischer Arbeit
die verschiedenen Formen der popularen Musik wie selbstverstandlich
in die jeweiligen Forschungs-programme mit einbezogen worden sind.
Der Band umfasst 18 Originalbeitrage von Personlichkeiten, die dem
Hamburger Musikwissenschaftlichen Institut und der Systematischen
Musikwissenschaft nahe stehen. In vier Themenblocken werden
forschungsgeschichtliche Aspekte diskutiert, Musikanalysen
vorgestellt, spezielle Hamburger Musikszenen beleuchtet und Fragen
der Bewertung von popularer Musik angesprochen. Helmut Rosing: «
Popularmusikforschung in Deutschland-von den Anfangen bis zu den
1990er Jahren-Martin Pfleiderer: Thinking in Jazz. Entwicklung und
neuere Aufsatze der Jazzforschung-Peter Wicke: Popmusik in der
Theorie. Aspekte einer problematischen Beziehung-Paul Riggenbach:
Empirie-Domino. Empirische Popularmusikforschung in der BRD: ein
Vergleich-Dietrich Helms: Musikwissenschaftliche Analyse popularer
Musik?-Albrecht Schneider: Klanganalyse als Methodik
derPopularmusikforschung-Werner Jauk: Pop: Mediatisierung und der
dissidente Korper-Andre Matthias: Braveheart. Eine filmmusikalische
Analyse-Britta Sweers: Die Fusion von traditioneller Musik, Folk
und Rock-Beruhrungspunkte zwischen Popularmusikforschung und
Ethnomusikologie-Susanne Binas: Pieces of Paradise-Technologische
und kulturelle Aspekte der Transformation lokaler Musikpraktiken im
globalen Kulturproze-Rainer Dollase/Katharina Woitowitz/Ariel
Bieler/Arnd Ridder/Ina Kohnemann: Konformitat und Nonkonformitat
musikalischer Praferenzen als Ausdruck sozialer Distinktion in
multikulturellen Schulklassen zwischen dem 11. und 18.
Lebensjahr-Werner Hoffmann: Broadcastinghouse/Musikhalle-Hamburg
36, der Anglo-German Swing Club-eine programmatische Skizze-Nikola
Vatterodt/Philipp Brieler: Musical in Hamburg-Roger Behrens:
Blumfeld mit Kante. Postrock und Diskurspop in der so genannten
Hamburger Schule-Ursel Schlicht: « Ein Lebensgefuhl, mal
anstrengend, mal wunderbar. Jazz und Gender-Zur aktuellen Situation
von (Jazz-)Musikerinnen in Hamburg-Dietmar Schlumbohm: Was ist
Musik im digitalen Zeitalter noch wert? Veranderungen der Nutzung,
des Umgangs und des Wertes von Musik durch digitale Medien-Gunther
Jacob: Archaologie des Hipnessverfalls-Martin Busser:
Avantgardistische Aspekte der Popkultur.
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