Search results for "Musical"
showing 10 items of 797 documents
Pleasant Musical Imagery : Eliciting Cherished Music in the Second Person
2019
This article introduces the notion of pleasant musical imagery (PMI) for denoting everyday phenomena where people want to cherish music ‘‘in their heads.’’ This account differs from current paradigms for studying musical imagery in that it is not based a priori on (in)voluntariness of the experience. An empirical investigation of the structure and experiential content in 50 persons’ experiences of PMI applied the elicitation interview method. Peer judgments of the interviews helped to bridge a phenomenological investigation of particular experiences with systematic between-subjects analysis. Both structural features of the imagery (e.g., Looseness of structure or Looping) and content featur…
The effect of prior information on musical preference rating how our musical preference is shaped by prior information in an online environment
2009
Identifying the Impact of Game Music both Within and Beyond Gameplay
2021
This paper presents an overview of and a brief critical reflection on game music’s impact on players both within and beyond the context of gameplay. The analysis is based both on the current literature as well as on preliminary (work-in-progress) observations of our research project Game Music Everyday Memories. We consider how the functions and uses of game music potentially extend to people’s everyday life, thus constituting a personally and culturally meaningful relationship with music that is not immediately connected to gameplay. On the other hand, we consider the ways game music and a person’s attachment to the music are involved in gameplay motivation and potential game retention. As…
Écriture et perception des grandes formes en musique contemporaine et, en particulier, chez Roger Reynolds. « Le cristal et la flamme »
2003
This PhD addresses the issue of musical time and form in the second half of the XXth century with the joint perspective of composition and perception. The first chapter describes composer’s main conceptions of musical time, compositional strategies, functions and formal models, as well as the main musicological theories concerning musical form. The second chapter is devoted to the semiotic square of musical form (definition, typological and syntagmatic approach). The third chapter is dedicated to R. Reynolds’The Angel of Death, a work that allows us to compare writing and perception. The fourth chapter reviews the main studies and theories forged by psychology around this question, and pres…
Music Cities. Estrategias para el desarrollo de la economía de la música
2016
El concepto de Music City está adquiriendo relevancia paralelamente al interés sobre el impacto económico de la cultura, especialmente del sector musical comercial, y su creciente importancia en la planificación urbanística. Con la política local y regional postcrisis en el punto de mira, la gestión cultural apoyada en una investigación apropiada posibilita el desarrollo de una estrategia musical que aproveche los recursos creativos e industriales del territorio. Coordinando a las instituciones públicas, la iniciativa privada y la ciudadanía, esta especialización estratégica genera beneficios transversales para la ciudad, aumentando también su atractivo para visitantes y residentes. The con…
50 ans de psychologie de la musique
2011
International audience; Il y a cinquante ans paraissait La perception de la musique, ouvrage majeur par lequel Robert Francès instituait une forme novatrice d’approche du fait musical. Son style, sa cohérence scientifique, joints à une assise culturelle et à des intuitions exceptionnelles, lui confèrent une place d’autorité inégalée. Cette oeuvre vaut toujours à Robert Francès un important capital de sympathie et de respect souvent résumé par le titre de « père de la psychologie de la musique française ». L’héritage de La perception de la musiquese doit d’être pensé, débattu et analysé, surtout lorsque cinquante années de recul nous le permettent. C’est là tout le projet de ce recueil. Il r…
What makes us like music?
2009
Why do we like the music we like and why do different people like different kinds of music? Existing models try to explain music preference as an interplay of musical features, the characteristics of the listener, and the listening context. Hereby, they refer to short-term preference decisions for a given piece of music rather than to the question why we listen to music at all and why we select a particular musical style. In this paper, it is hypothesized that the motivation for music listening and the liking for a particular kind of music depend on the functions that this music can fulfill for the listener. Thus, the relative contribution of these functions to the development of music pref…
On application of kernel PCA for generating stimulus features for fMRI during continuous music listening
2018
Background There has been growing interest towards naturalistic neuroimaging experiments, which deepen our understanding of how human brain processes and integrates incoming streams of multifaceted sensory information, as commonly occurs in real world. Music is a good example of such complex continuous phenomenon. In a few recent fMRI studies examining neural correlates of music in continuous listening settings, multiple perceptual attributes of music stimulus were represented by a set of high-level features, produced as the linear combination of the acoustic descriptors computationally extracted from the stimulus audio. New method fMRI data from naturalistic music listening experiment were…
Música de García Fajer en Italia: el caso de la «Misa de Réquiem» conservada en Enna (Sicilia)
2010
Il lavoro si sofferma sulla presenza nella penisola italiana di musiche composte da García Fajer, musicista spagnolo del Settecento, partendo dalla scoperta di una "Messa da Requiem" a lui attribuibile, conservata nel fondo musicale del Duomo di Enna. Oltre che all'esame della fonte, la discussione è dedicata a questioni di diverso genere, in relazione al periodo italiano del compositore, alla sua permanenza a Napoli e alla fase di apprendistato musicale, prima di dedicarsi al genere operistico.