Space in Musical Semiosis : An Abductive Theory of the Musical Composition Process

Space in musical semiosis is a study of musical meaning, spatiality and composition. Earlier studies on musical composition have not adequately treated the problems of musical signification. Here, composition is considered an epitomic process of musical signification. Hence the core problems of composition theory are core problems of musical semiotics. The study employs a framework of naturalist pragmatism, based on C. S. Peirce’s philosophy. It operates on concepts such as subject, experience, mind and inquiry, and incorporates relevant ideas of Aristotle, Peirce and John Dewey into a synthetic view of esthetic, practic, and semiotic for the benefit of grasping musical signification process as a case of semiosis in general. Based on expert accounts, music is depicted as real, communicative, representational, useful, embodied and non-arbitrary. These describe how music and the musical composition process are mental processes. Peirce’s theories are combined with current morphological theories of cognition into a view of mind, in which space is central. This requires an analysis of space, and the acceptance of a relativist understanding of spatiality. This approach to signification suggests that mental processes are spatially embodied, by virtue of hard facts of the world, literal representations of objects, as well as primary and complex metaphors each sharing identities of spatial structures. Consequently, music and the musical composition process are spatially embodied. Composing music appears as a process of constructing metaphors—as a praxis of shaping and reshaping features of sound, representable from simple quality dimensions to complex domains. In principle, any conceptual space, metaphorical or literal, may set off and steer elaboration, depending on the practical bearings on the habits of feeling, thinking and action, induced in musical communication. In this sense, it is evident that music helps us to reorganize our habits of feeling, thinking, and action. These habits, in turn, constitute our existence. The combination of Peirce and morphological approaches to cognition serves well for understanding musical and general signification. It appears both possible and worthwhile to address a variety of issues central to musicological inquiry in the framework of naturalist pragmatism. The study may also contribute to the development of Peircean semiotics.

Sensory auditory processing and intuitive sound detection : an investigation of musical experts and nonexperts

The auditory system can detect occasional changes (deviants) in acoustic regularities without the need for subjects to focus their attention on the sound material. Deviant detection is reflected in the elicitation of the mismatch negativity component (MMN) of the event-related potentials. In the studies presented in this thesis, the MMN is used to investigate the auditory abilities for detecting similarities and regularities in sound streams. To investigate the limits of these processes, professional musicians have been tested in some of the studies. The results show that auditory grouping is already more advanced in musicians than in nonmusicians and that the auditory system of musicians can, unlike that of nonmusicians, detect a numerical regularity of always four tones in a series. These results suggest that sensory auditory processing in musicians is not only a fine tuning of universal abilities, but is also qualitatively more advanced than in nonmusicians. In addition, the relationship between the auditory change-detection function and perception is examined. It is shown that, contrary to the generally accepted view, MMN elicitation does not necessarily correlate with perception. The outcome of the auditory change-detection function can be implicit and the implicit knowledge of the sound structure can, after training, be utilized for behaviorally correct intuitive sound detection. These results illustrate the automatic character of the sensory change detection function.

Cortical processing of musical pitch as reflected by behavioural and electrophysiological evidence

In a musical context, the pitch of sounds is encoded according to domain-general principles not confined to music or even to audition overall but common to other perceptual and cognitive processes (such as multiple pattern encoding and feature integration), and to domain-specific and culture-specific properties related to a particular musical system only (such as the pitch steps of the Western tonal system). The studies included in this thesis shed light on the processing stages during which pitch encoding occurs on the basis of both domain-general and music-specific properties, and elucidate the putative brain mechanisms underlying pitch-related music perception. Study I showed, in subjects without formal musical education, that the pitch and timbre of multiple sounds are integrated as unified object representations in sensory memory before attentional intervention. Similarly, multiple pattern pitches are simultaneously maintained in non-musicians' sensory memory (Study II). These findings demonstrate the degree of sophistication of pitch processing at the sensory memory stage, requiring neither attention nor any special expertise of the subjects. Furthermore, music- and culture-specific properties, such as the pitch steps of the equal-tempered musical scale, are automatically discriminated in sensory memory even by subjects without formal musical education (Studies III and IV). The cognitive processing of pitch according to culture-specific musical-scale schemata hence occurs as early as at the sensory-memory stage of pitch analysis. Exposure and cortical plasticity seem to be involved in musical pitch encoding. For instance, after only one hour of laboratory training, the neural representations of pitch in the auditory cortex are altered (Study V). However, faulty brain mechanisms for attentive processing of fine-grained pitch steps lead to inborn deficits in music perception and recognition such as those encountered in congenital amusia (Study VI). These findings suggest that predispositions for exact pitch-step discrimination together with long-term exposure to music govern the acquisition of the automatized schematic knowledge of the music of a particular culture that even non-musicians possess.

The composer and conductor Leon Kopf holding a musical score Portraits Men

Kopf conducted the Jewish People’s Philharmonic Chorus, New York from 1948-1952

Musical program

Musical program for inmates of Home for Aged and Infirm Hebrews, black ink on white paper, 4 pages.

Carrie the Musical

When Carrie the Musical first debuted in 1988 it (in)famously closed eight days later, earning the dubious title of being one of the biggest flops in the history of Broadway. This revived version of the work, the Queensland premiere of the production, presented at the Brisbane Powerhouse in January 2016, was a calculated experiment in the commercialisation of an historical flop into a contemporary success. Through collaboration between some of Brisbane's most promising young creatives, designers, choreographers musicians and performers, this production became one of the Brisbane Powerhouse's most successful shows and gained local, national and international recognition for its achievements. By pushing the boundaries of the most current trends in contemporary Australian directing and performance making, the creative team was able to draw on their innovative capacity as independent theatre makers to turn a once-maligned work into a modern-day financial and critical success.

El teponaztli en la tradición musical mexica

Lecture about the teponaztli (a specific type of slit drum), traditionally used by the Aztec (or Mexica) people, and its associated repertoire. Special attention is paid to the usage of this instrument in the Cantares Mexicanos (a song compilation from the 16th century) accompaniment.

On Musical Self-Similarity : Intersemiosis as Synecdoche and Analogy

Self-similarity, a concept taken from mathematics, is gradually becoming a keyword in musicology. Although a polysemic term, self-similarity often refers to the multi-scalar feature repetition in a set of relationships, and it is commonly valued as an indication for musical coherence and consistency . This investigation provides a theory of musical meaning formation in the context of intersemiosis, that is, the translation of meaning from one cognitive domain to another cognitive domain (e.g. from mathematics to music, or to speech or graphic forms). From this perspective, the degree of coherence of a musical system relies on a synecdochic intersemiosis: a system of related signs within other comparable and correlated systems. This research analyzes the modalities of such correlations, exploring their general and particular traits, and their operational bounds. Looking forward in this direction, the notion of analogy is used as a rich concept through its two definitions quoted by the Classical literature: proportion and paradigm, enormously valuable in establishing measurement, likeness and affinity criteria. Using quantitative qualitative methods, evidence is presented to justify a parallel study of different modalities of musical self-similarity. For this purpose, original arguments by Benoît B. Mandelbrot are revised, alongside a systematic critique of the literature on the subject. Furthermore, connecting Charles S. Peirce s synechism with Mandelbrot s fractality is one of the main developments of the present study. This study provides elements for explaining Bolognesi s (1983) conjecture, that states that the most primitive, intuitive and basic musical device is self-reference, extending its functions and operations to self-similar surfaces. In this sense, this research suggests that, with various modalities of self-similarity, synecdochic intersemiosis acts as system of systems in coordination with greater or lesser development of structural consistency, and with a greater or lesser contextual dependence.

Composición florística, estado silvicultural, fitosanitario y consideraciones técnicas para el manejo del arbolado en los Parques Las Piedrecitas y Japonés de la ciudad de Managua

Con el objetivo de aportar conocimientos para el manejo eficiente del recurso arbóreo urbano público, se realizó el presente estudio en dos de los principales parques de Managua "Las Piedrecitas" y "Japonés" en este se presenta información sobre el estado actual del arbolado, como estado silvicultura! y fitosanitario al igual que conocer los gustos y preferencias de los usuarios en relación a la situación del estado del arbolado, por medio de la aplicación de un cuestionario. Para describir el arbolado y determinar su condición, se realizó el inventario de la vegetación y se tomaron algunos parámetros dasométricos. Obteniendo como resultados 466 árboles, agrupados en 24 familias y 50 especies arbóreas, de los cuales el 82% se consideran como regular, de porte bajo, con escaso desarrollo de la copa, fustes inclinados, la mayoría con presencia de daños mecánicos, quiebres de ramas y heridas en el fuste. En base a estas condiciones silviculturales y fitosanitarias, se formularon algunas propuestas técnicas para el cuido y manejo estético de los árboles presentes en el parque, lo cual traerá beneficios ambientales como por ejemplo, reducir la contaminación del aire y ruido, la modificación del microclima y un realce del paisaje con impactos positivos en la psique humana, además de beneficios sociales y económicos a los usuarios de la zona, haciendo del ambiente un lugar más agradable, placentero para disfrutar, y utilizar el tiempo libre; generando a la vez fuentes de empleo, así como permitirá el desarrollo de una ciudad más verde, propiciando mínimos impactos negativos al ambiente urbano.

“Dinámica de crecimiento, estructura y composición de la vegetación secundaria en trópico seco de Nandarola, Nicaragua”

El estudio se llevó a cabo en la comarca L a Chipopa del departamento de Granada. El objetivo es analizar la estructura, composición florística y regeneración natural, así como la tasa de mortalidad y reclutamiento de los individuos e n la vegetación fragmentada de un bosque seco tropical que permita tomar decisi ones y emitir recomendaciones para el manejo. Para tal efecto, se realizaron dos mediciones del diámetro de las espec ies arbóreas mayores de cinco centímetros en tres parcelas permanentes de 0.25 hectárea entre el periodo 2006 y 2009. S e identificaron 4 3 especies representadas en 26 familias botánicas , siendo las más representativas Fabáceae, Euphorbeaceae, Hipocrataceae , Mimosaceae, Rubeaceae . El incremento periódico anual promedio fue de 0.58 cm año - 1 , una tasa de mortalidad del 7% donde el 77% es provocada por el hombre y 3% de reclutamiento. El área basal se incrementó en 2 m 2 ha - 1 , la perdida por mortalidad de 1.12 m 2 ha - 1, ganancia por sobrevivencia de 2.5 m 2 ha - 1 y por reclutamiento 0.38 m 2 ha - 1 en 3 años. El 93 % de las especies tienen uso para leña, 5% forrajeras y las m aderables 2%. L a regeneración natural es abundante , con una alta riqueza específica de es pecies , apropiado para el reemplazo de los individuos muertos o aprovechados, pero no se registraron las especies de alto valor comercial . C onforme el tiempo el bosque de Nandarola alcanza una estructura con árboles de todos los tamaños y una mayor compo sición de especies, siendo muy diversificado y dinámico ; sin embargo, se recomienda aplicar tratamientos de raleo y liberación de lianas para favorecer el incremento de las especies, así como, enriquecimiento con especies maderables .

Composición quimica y digestibilidad in situ de los pastos angleton (Dichantium aristatum, poir.), Colonial (Panicum maximum, Jacq.) y Taiwan (Pennisetum purpureum, Schum)

Se determinó la digestibilidad de los pastos Angleton, Colonial y Taiwan mediante el método in situ, disponiendo para ello de tres novillos de la raza criolla Reyna cuya edad oscilaba entre 12 y 18 meses y con un peso promedio de 261 kg, los cuales estuvieron provistos de una fístula ruminal. El objetivo propuesto fue obtener y comparar los estimados cuantitativos relativos a la degradación ruminal a diferentes tiempos de incubación (24,48 y 72 horas} tanto de materia seca como de proteína bruta. Los pastos fueron cosechados a los 35 días después del rebrote y se analizaron químicamente según procedimientos de la A.O.A.C (1984) para materia seca (MS), proteína bruta (PB), extracto etéreo (EE), extracto libre de nitrógeno (ELN), fibra bruta (FB) y cenizas (C) (Weende), y según el método de Van Soest (CATIE, 1987) para fibra neutro detergente (FND)y fibra ácido detergente (FAD), así como Hemicelulosa (HC). Se incubaron 10 gr de las muestras de cada uno de los pastos en bolsas de nylon. Para analizar estadísticamente los valores de degradación obtenidos, se utilizaron análisis de varianza dentro de un DCA para determinar la significancia entre pastos en los tiempos medidos y prueba de rango múltiple de Duncan para comparar medias de los pastos dentro de cada tiempo, obteniéndose diferencias altamente significativas entre ellos (P <0.01), y al observar la separación de medias se manifestó la superioridad del Taiwan en todos los tiempos de incubación, sin embargo el Colonial, no presentó diferencias significativas con el Taiwan y el Angleton en el tiempo de 72 horas. Se concluye como resultado de este estudio, que a una edad de rebrote de 35 días, el. Taiwán es superior al Angleton y al Colonial en lo que respecta a solubilidad de materia seca v proteína bruta al mismo tiempo el Colonial. mostró superioridad ante el Angl.eton debido a su mayor solubilidad de materia seca. Las mayores degradaciones de materia seca se presentaron en el. período de 0 a 24 horas de fermentación para los tres pastos; en cambio para proteína bruta ocurrieron para el. Angleton y el Taiwán entra 1as 24 y 48 horas y para e1 Colonia1 entre O y 24 horas. En qenera1, a través de la dinámica de digestión de 1os pastos se observó la influencia negativa que ejerce proporcionalmente a su contenido, la fracción de fibra (fibra neutro detergente y fibra acido detergente).