Criteria for graphic representation in musical scores: Visual elements in musical scores

A interdisciplinaridade entre a música e as artes visuais tem sido explorado por conceituados teóricos e filósofos, embora não exista muito na área da interpretação visual do grafismo de partituras musicais. Este estudo investiga como os grafismos na notação e símbolos musicais afectam o intérprete na sua transformação em som, com referência especial a partituras contemporâneas, que utilizam notação menos convencional para a criação de uma interpretação por sugestão. Outras relações entre o som e o visual são exploradas, incluindo a sinestesia, a temporalidade e a relação entre obra de arte e público. O objectivo desta dissertação é a de constituir um estudo inovativo sobre partituras musicais contemporâneas, simultaneamente do ponto de vista musical e visual. Finalmente, também vai mais longe, incluindo desenhos da própria autora inspirados e motivados pela música. Estes já não cumprem uma função de notação convencional para o músico, embora existe uma constante possibilidade de uma reinterpretação. ABSTRACT; The inter-disciplinarity between music and visual art has been explored by leading theorists and philosophers, though very little exists in the area of the visual interpretation of graphic musical scores. This study looks at how the graphics of musical notation and symbols affect the performer in transforming them into sound, with particular reference to contemporary scores that use non¬conventional notation to create an interpretation through suggestion. Other sound-visual relationships are explored, including synaesthesia, temporality and the interconnection between work of art and audience or public. This dissertation aims to be an innovative study of contemporary musical scores, from a musical as well as visual perspective. Finally, it takes a step further with drawings of my own, directly inspired and motivated by the music. These no longer fulfil a conventionally notational function for the musician, yet the potential for a re-interpretation is ever-present.

Detection of Glass pattern configurations by the primary visual cortex

The neurons in the primary visual cortex that respond to the orientation of visual stimuli were discovered in the late 1950s (Hubel, D.H. & Wiesel, T.N. 1959. J. Physiol. 148:574-591) but how they achieve this response is poorly understood. Recently, experiments have demonstrated that the visual cortex may use the image processing techniques of cross or auto-correlation to detect the streaks in random dot patterns (Barlow, H. & Berry, D.L. 2010. Proc. R. Soc. B. 278: 2069-2075). These experiments made use of sinusoidally modulated random dot patterns and of the so-called Glass patterns - where randomly positioned dot pairs are oriented in a parallel configuration (Glass, L. 1969. Nature. 223: 578-580). The image processing used by the visual cortex could be inferred from how the threshold of detection of these patterns in the presence of random noise varied as a function of the dot density in the patterns. In the present study, the detection thresholds have been measured for other types of patterns including circular, hyperbolic, spiral and radial Glass patterns and an indication of the type of image processing (cross or auto-correlation) by the visual cortex is presented. As a result, it is hoped that this study will contribute to an understanding of what David Marr called the ‘computational goal’ of the primary visual cortex (Marr, D. 1982. Vision: A Computational Investigation into the Human Representation and Processing of Visual Information. New York: Freeman.)