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Journal articles on the topic 'Musical phenomenology'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Kopeliuk, Oleg. "Phenomenology of style as musicological discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 7–21. http://dx.doi.org/10.34064/khnum1-55.01.

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Background. Among the studies of the last five years we note scientific researches which reveal different phenomenological concepts in musicological discourse and reveal the final maximum of the phenomenological study of music essence. R. Kurenkova’s research is one of them, which explores the content of the phenomenological approach to the analysis of musical art works, and traces the analysis of the history and theory of the phenomenological method. In V. Sokolov’s work the attention is focused on the categories of musical thinking, which for the first time becomes the subject of methodologi

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2

Hallowell, Sean Russell. "Towards a Phenomenology of Musical Borrowing." Organised Sound 24, no. 02 (2019): 174–83. http://dx.doi.org/10.1017/s1355771819000219.

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In discourse on the topic, the question of what constitutes a musical ‘borrowing’, if raised at all, is usually restricted in scope and framed as one of terminology – that is, of determining the right term to characterise a particular borrowing act. In this way has arisen a welter of terms that, however expressive of nuance, have precluded evaluation of the phenomenon as such. This is in part a consequence of general disregard for the fact that to conceive of musical borrowing entails correlative concepts, all of which precondition it, yet none self-evidently. Further preclusive of clarity, th

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3

Saba, Philip R., and Matcheri S. Keshavan. "Musical Hallucinations and Musical Imagery: Prevalence and Phenomenology in Schizophrenic Inpatients." Psychopathology 30, no. 4 (1997): 185–90. http://dx.doi.org/10.1159/000285046.

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4

Szyszkowska, Małgorzata A. "Musical Phenomenology: Artistic Traditions and Everyday Experience." AVANT. The Journal of the Philosophical-Interdisciplinary Vanguard 9, no. 2 (2018): 141–55. http://dx.doi.org/10.26913/avant.2018.02.09.

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5

Buttingsrud, Camille. "S. Høffding, A phenomenology of musical absorption." Phenomenological Reviews 5 (2019): 25. http://dx.doi.org/10.19079/pr.5.25.

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6

KOSILOVA, ELENA. "PHENOMENOLOGY OF MUSICAL UNDERSTANDING: THE CASE OF ROCK MUSIC." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 11, no. 2 (2022): 607–24. http://dx.doi.org/10.21638/2226-5260-2022-11-2-607-624.

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The article deals with the problem of understanding the meaning of music on the example of rock music. The purpose of the article is to find a criterion for such an understanding. For this purpose, the question is considered as to what musical meaning is. Since rock compositions usually have a short length and one explicit melody, it can be said that musical understanding is the grasping of this melody. The question arises as to what it means to grab a melody, and whether it means the ability to sing it. Not necessarily, it turns out–rather, it means capturing its pattern. The idea that music

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VASSILEV, CHRISTIAN. "THE PHENOMENON OF MUSICAL IDENTIFICATION. A VIEW FROM HEIDEGGER’S EARLY PHENOMENOLOGY." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 11, no. 2 (2022): 584–606. http://dx.doi.org/10.21638/2226-5260-2022-11-2-584-606.

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The starting point of the following article are statements by various prominent musical performers of the 20th century who have testified to the life-experience of musical identification, i.e. the experience of unity and oneness with music. The purpose of the article is to explore the phenomenological implications of this experience on the basis of Martin Heidegger’s early phenomenological work. The article compares Heidegger’s early view of phenomenal givenness with that of Edmund Husserl. While Husserl sees phenomenal givenness as constituted by (transcendental) consciousness, Heidegger find

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Pangnoi, Ratree, Poonpit Amatyakul, Somchai Trakarnrung, and Nachaya Natchanawakul. "Music therapy Literacy based on Boethius approach in Thailand." International Journal of Education and Literacy Studies 13, no. 2 (2025): 151–56. https://doi.org/10.7575/aiac.ijels.v.13n.2p.151.

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This study is qualitative research which focused on phenomenology of music therapy based on Boethius’ concept and approach in Thailand. The objectives of this study were to explore phenomenology and patterns of remedy through Boethius’ energy music therapy in Thailand. The participants were ninemusic therapists. In-depth data of the individual’s experience were collected and analyzed. The outcomes of this study indicated that (1) Musica Mundana (Universal music) is derived from the movement of the stars in the universe which consequently causes day, time, seasons, cosmic and the 12 zodiacs whi

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9

Jarvis, Simon. "Musical Thinking: Hegel and the Phenomenology of Prosody." Paragraph 28, no. 2 (2005): 57–71. http://dx.doi.org/10.3366/para.2005.28.2.57.

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10

Burnam, Henry. "An Unnatural Attitude: Phenomenology in Weimar Musical Thought." Journal of Music Theory 68, no. 1 (2024): 183–93. http://dx.doi.org/10.1215/00222909-10974837.

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11

SETIAJI, DENIS. "PENGARUH IDIOM MUSIK LOKAL DALAM MEMBENTUK DIMENSI INTERKULTURAL PADA PERMAINAN GENDANG DANGDUT KOPLO." Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni 23, no. 1 (2021): 104. http://dx.doi.org/10.26887/ekspresi.v23i1.1577.

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THE INFLUENCE OF LOCAL MUSICAL IDIOM ESTABLISHING INTERKULTURAL SECTION IN THE STYLE PATTERN OF GENDANG DANGDUT KOPLOAbstractPenelitian ini difokuskan untuk melihat bagaimana pengaruh musik lokal terhadap perkembangan permainan gendang dangdut koplo. Penelitian yang dilakukan menggunakan metode fenomenologi dengan melakukan studi lapangan ke sejumlah praktisi gendang dangdut koplo di wilayah Solo Raya serta penelusuran data melalui virtual field work. Penulis mencoba melakukan analisis musikal pada pola permainan gendang dan menelusuri sumber pola permainan gendang pada idiom musikal sejumlah

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12

Bériachvili, Georges. "Musical gesture and phenomenology of musical space in 20th-century avant-garde music." Zbornik Akademije umetnosti, no. 8 (2020): 53–72. http://dx.doi.org/10.5937/zbaku2008053b.

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13

Atkinson, Mitchell. "Types, Styles, and Spaces of Possibility : Phenomenology and Musical Improvisation." Gestalt Theory 42, no. 3 (2020): 253–70. http://dx.doi.org/10.2478/gth-2020-0022.

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SummaryI outline an approach to the phenomenology of improvised music which takes typification and the development of multi‐ordered phenomenological structures as central. My approach here is firmly in line with classical Husserlian phenomenology, taking the discussion of types in Experience and Judgment (Husserl, 1973) and Brudzińska (2015) as guide. I provide a phenomenological analysis of musical types as they are found in improvisational contexts, focusing on jazz in the 20th century. Styles are higher‐order musical types. Musical types are structures that are temporally “thick,” relying o

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Eiriz, Claudio. "Tecnología aural, fenomenología y matrices de datos en el Tratado de los objetos musicales de Pierre Schaeffer: Contribuciones para una Ciencia de lo que se oye." Perspectivas Metodológicas 21, no. 25 (2021): 16. https://doi.org/10.18294/pm.2021.3550.

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Sérgio de Figueiredo, Rocha. "Memória." Per Musi, no. 21 (October 13, 2009): 97–108. https://doi.org/10.35699/2317-6377.2010.54429.

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Descriptive study about the routines of practice and performance by the Brazilian trombone quartet calledTrombominas, according to three axes: musical performance, phenomenology and musical memory as a cognitive function. The group’s procedures are described within the perspective of the phenomenological referential, departing frominterviews with the members of the group and their subjective impressions. It aims at explaining how memory can actas a key in the construction of musical meaning for the subjects of the performances.

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Lee, Gavin. "Queer Music Theory." Music Theory Spectrum 42, no. 1 (2019): 143–53. http://dx.doi.org/10.1093/mts/mtz019.

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Abstract Queer musical phenomenology refers to the practice of disorientation away from established music theories, including one’s own. In Lewin’s “Phenomenology” article, queering can be understood as his intentional, self-critical, conceptual disorientations—first departing from Schenkerian theory, and then moving toward and finally away from the perception-model. Through a close reading of Lewin in combination with Sara Ahmed’s Queer Phenomenology, which offers a theory of embodied lives marginalized by pathways of normativity, I examine the generalizable application of theories such as qu

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Turrini, Nicola. "Il velo e la conchiglia." Chiasmi International 25 (2023): 259–74. http://dx.doi.org/10.5840/chiasmi20232531.

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The essay intends to revisit certain phenomenological themes present in the theoretical work of Pierre Schaeffer, based on his most important and influential book: the Traité des objets musicaux. A French engineer and composer, Schaeffer was the initiator – from the point of view of its musical practice, and its theoretical analysis – of one of the most important musical avant-gardes of the 20th century, musique concrète. The objective of the article will be to consider Schaeffer’s main reference – the phenomenology of Edmund Husserl – and suggest that Maurice Merleau-Ponty’s phenomenology cou

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18

Griffiths, T. D. "Musical hallucinosis in acquired deafness: Phenomenology and brain substrate." Brain 123, no. 10 (2000): 2065–76. http://dx.doi.org/10.1093/brain/123.10.2065.

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19

Aránguiz, R., P. Chana-Cuevas, D. Alburquerque, and X. Curinao. "Focal dystonia in musicians: Phenomenology and musical triggering factors." Neurología (English Edition) 30, no. 5 (2015): 270–75. http://dx.doi.org/10.1016/j.nrleng.2013.12.014.

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20

Schwarz, Eva. "A Phenomenology of Musical Absorption, written by Simon Høffding." Journal of Phenomenological Psychology 50, no. 2 (2019): 265–72. http://dx.doi.org/10.1163/15691624-12341367.

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21

Kearney, Michael R. "The Phenomenology of the Pipe Organ." Phenomenology & Practice 15, no. 2 (2020): 24–38. http://dx.doi.org/10.29173/pandpr29432.

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 An extended illustration from Merleau-Ponty’s Phenomenology of Perception describes the interplay of habit, sedimentation, and intersubjectivity in the practice and performance of a skilled organist. This paper takes up Merleau-Ponty’s example in order to describe some of the phenomenological characteristics of embodied musical performance. These characteristics point toward an intersubjective event of “consecration,” as Merleau-Ponty describes it, in which the musician adopts the role of rhetor, inviting the audience into a shared dwelling place.

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22

Reznichenko, Maria G., and Vladimir A. Loginov. "Phenomenological Approach as a Basis for Training of Performing Musicians." Sphere of culture 5, no. 4 (2024): 91–98. https://doi.org/10.48164/2713-301x_2024_18_91.

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Phenomenology as a scientific approach used in the training of performing musicians enables us to describe the essential structure of the phenomenon of music and in particular its substantive elements, i.e. dialectically polar musical images. The article justifies the cognitive significance of the description method for the study of manifestations of the phenomenon of music such as composition, performance, perception, training and music management. The evolutionary stages of the description of the phenomena related to the phenomenology of music make it possible to designate the enrichment of

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23

Lewin, David. "Music Theory, Phenomenology, and Modes of Perception." Music Perception 3, no. 4 (1986): 327–92. http://dx.doi.org/10.2307/40285344.

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Recent years have seen an increasing influence on music theory of perceptual investigations that can be called phenomenological in the sense of Husserl, either explicitly or implicitly. The trend is problematic, particularly in what one might call its sociology, but it is also very promising. Potential or at least metaphorical links with Artificial Intelligence are especially suggestive. A formal model for "musical perceptions," incorporating some of the promising features, reveals interesting things in connection with Schubert's song Morgengruβ. The model helps to circumvent some traditional

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24

Yarochkin, Dmitriy A. "TOWARDS THE PHILOSOPHY OF MUSICAL EXPERIENCE IN THE WEST AND EAST." Humanities And Social Studies In The Far East 19, no. 3 (2022): 75–81. http://dx.doi.org/10.31079/1992-2868-2022-19-3-75-81.

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This article is devoted to the analysis of the musical affiliation in the mystery of the Altai kam and kaichi. To do this, the authors transfer the methods of analyzing the European musical experience to the traditional Altai culture. We observe the physiology, psychology of music perception, as well as the phenomenology and semiology of the formation of musical experience. Similarities in the pre-secret understanding of music, as the formation of the perception of society of the system of coordinates and internment, the role of the figure of the performer in culture, and the relevance of comp

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25

Koops, Lisa Huisman. "The Enjoyment Cycle: A Phenomenology of Musical Enjoyment of 4- to 7-Year-Olds During Musical Play." Journal of Research in Music Education 65, no. 3 (2017): 360–80. http://dx.doi.org/10.1177/0022429417716921.

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The purpose of this phenomenological study was to describe children’s lived experience of enjoyment during musical play. Data sources included class video from 15 weeks of a 24-week extracurricular music class for 4- to 7-year-olds taught by the researcher, parent-filmed video of child participant music-making in home settings during the same period, and transcripts of exit interviews with parents and children. Participants included 12 children and 4 adults, all of whom had contributed to prior studies on children’s music-making in family settings. Phenomenological data analysis followed Moust

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26

Boruta, E. V. "Русская философия музыки и опыт феноменологического восприятия: синестезия и психоделика". Studia Culturae, № 54 (3 квітня 2023): 115. http://dx.doi.org/10.31312/2310-1245-2022-54-115-127.

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The main object of the article is a philosophical interpretation of the phenomenon of musical synesthesia from the point of view of the philosophy of music by N. O. Lossky and the phenomenology of M. Merleau-Ponty. The original experience of listening to music by S. A. Kuryokhin is taken as an example. The first part of the work describes the tradition and formation of the Russian philosophy of music, and as a further research instrument, the main aspects of the philosophy of music by N. O. Lossky and the phenomenology of M. Merleau-Ponty are considered. Special attention is paid to three mode

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27

Kovtoniuk, Valeriya. "A performing musician’s oeuvre through the prism of phenomenology." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 8–16. http://dx.doi.org/10.34064/khnum1-50.01.

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Background. Continuing trends dated back in the second part of XIX century music culture concentrate on a figure of performing musician. Commercialization an academic art: popularity of performance awards, media supporting for new formats of concert performance, etc. facilitates this largely. Objectives. Public interest conditioned an appearance a lot of scientific research inscribed to problems of musical interpretation. However, a performing oeuvre learning the product, fixation of which even taking to account modern recording capabilities are relative, warrants specific methods. In particul

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Cho, Hyunree. "Philosophical Spectrum of Musical Performance Studies - Critical Theory and Phenomenology -." Journal of the Science and Practice of Music 41 (April 30, 2019): 141–82. http://dx.doi.org/10.36944/jspm.2019.04.41.141.

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Rusu, Iulian. "6. From Musical Psychology to Husserlian Phenomenology to Schenkerian Analysis." Review of Artistic Education 1, no. 23 (2022): 47–52. http://dx.doi.org/10.2478/rae-2022-0006.

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Abstract This study is written at the suggestion of Master Octav Calleya, a disciple of Celibidache and Franco Ferrara, who addresses those passionate about Musical Phenomenology and Acoustics. It is not very technical, it is more an introduction to the “roots” of this scientific approach to music imposed by Celibidache, which can be an open gate for those who want to enter this vast universe of knowledge.

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30

Gritten, Anthony. "Review: The Improvisation of Musical Dialogue: A Phenomenology of Music." British Journal of Aesthetics 45, no. 2 (2005): 197–99. http://dx.doi.org/10.1093/aesthj/ayi024.

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31

Llorente Cardo, Jaime. "La Invisibilidad Sonora: Sobre la Narración del Pathos Vital en las Fenomenologías de la Música de Michel Henry y Jean-Luc Marion." Philosophy of Music 74, no. 4 (2018): 1149–84. http://dx.doi.org/10.17990/rpf/2018_74_4_1149.

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The present study tries to expound the contributions that the recent French Phenomenology can provide concerning a possible philosophical approach to the phenomenon of music. We will focus particularly on Michel Henry´s aesthetic reflection which considers the musical event as an immaterial art, extraneous to the objective world and that seeks basically to make visible the invisible par excellence: the inwardness of the auto-affected subjective life. We will also attend to the examination of the categories that are characteristic of Jean-Luc Marion´s “phenomenology of the gift” in order to jus

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32

Moon, Hyunjin. "Exploring the Meaning and Application in Merleau-Ponty's Phenomenology." Korean Journal of Teacher Education 39, no. 3 (2023): 179–99. http://dx.doi.org/10.14333/kjte.2023.39.3.09.

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Purpose: The purpose of this study is to understand Merleau-Ponty's phenomenology, to explore themeaning of music education with his phenomenology, and to apply it to Music education. Methods: To this end, this study examined Merleau-Ponty's phenomenology through literature researchand derived Music education implications contained in the phenomenology. Based on this, this studyproposes an application plan for singing and choral education based on Merleau-Ponty's phenomenology. Results: Considering the core content of Merleau-Ponty's phenomenology from the perspective ofMusic education, which

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Pasquini, Filoteo, and Martin G. Cole. "Idiopathic Musical Hallucinations in the Elderly." Journal of Geriatric Psychiatry and Neurology 10, no. 1 (1997): 11–14. http://dx.doi.org/10.1177/089198879701000103.

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The purpose of this study was to determine the phenomenology and treatment of idiopathic musical hallucinations in the elderly by reviewing all relevant case reports. A systematic literature search yielded 32 case reports that met the following four inclusion criteria: (1) published in English, French, or Italian; (2) cases aged 65 years of age or older; (3) absence of major focal neurologic disease; and (4) absence of drug toxicity. Information was subsequently abstracted from each case reported and tabulated. Idiopathic musical hallucinations in the elderly occurred predominantly in females

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Hill, Stephen, and Harris M. Berger. "Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience." Yearbook for Traditional Music 34 (2002): 213. http://dx.doi.org/10.2307/3649208.

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Jan Mrázek. "Xylophones in Thailand and Java: A Comparative Phenomenology of Musical Instruments." Asian Music 39, no. 2 (2008): 59–107. http://dx.doi.org/10.1353/amu.0.0011.

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Roccor, Bettina, and Harris M. Berger. "Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience." Lied und populäre Kultur / Song and Popular Culture 47 (2002): 209. http://dx.doi.org/10.2307/3595193.

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37

Hochhauser, Sharon Carla, Harris M. Berger, and Mavis Bayton. "Metal, Rock and Jazz: Perception and the Phenomenology of Musical Experience." Ethnomusicology 46, no. 1 (2002): 174. http://dx.doi.org/10.2307/852815.

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Koven, Mikel J. "Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience." Journal of American Folklore 116, no. 459 (2003): 120–21. http://dx.doi.org/10.2307/4137949.

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Sivuoja-Gunaratnam, Anne. "Miniatures and tensions: phenomenological reverberations in and around Kaija Saariaho's Lichtbogen (1985-86)." Articles 25, no. 1-2 (2012): 44–66. http://dx.doi.org/10.7202/1013305ar.

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The article studies miniatures in Kaija Saariaho's Lichtbogen for nine musicians and live electronics (1985-86). The research material consists of records, the score and composer's interviews and articles. Methodologically, the article is based on Gaston Bachelard 's phenomenology (The Poetics of Space) and Denis Smalley's "Spectromorphology." Miniatures are subtle spatio-temporal constellations, which require a non-global listening strategy, or an "aural magnification glass" in order to be perceived. In Saariaho's case, these miniatures are often imbued with musical tension, which reverberate

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40

Magnusson, Thor. "Of Epistemic Tools: musical instruments as cognitive extensions." Organised Sound 14, no. 2 (2009): 168–76. http://dx.doi.org/10.1017/s1355771809000272.

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This paper explores the differences in the design and performance of acoustic and new digital musical instruments, arguing that with the latter there is an increased encapsulation of musical theory. The point of departure is the phenomenology of musical instruments, which leads to the exploration of designed artefacts as extensions of human cognition – as scaffolding onto which we delegate parts of our cognitive processes. The paper succinctly emphasises the pronounced epistemic dimension of digital instruments when compared to acoustic instruments. Through the analysis of material epistemolog

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41

Madison, Guy. "Experiencing Groove Induced by Music: Consistency and Phenomenology." Music Perception 24, no. 2 (2006): 201–8. http://dx.doi.org/10.1525/mp.2006.24.2.201.

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There is a quality of music that makes people tap their feet, rock their head, and get up and dance. The consistency of this experience among listeners was examined, in terms of differences in ratings across 64 music examples taken from commercially available recordings. Results show that ratings of groove, operationally defined as “wanting to move some part of the body in relation to some aspect of the sound pattern,” exhibited considerable interindividual consistency. Covariance patterns among the 14 rated words indicated four prominent factors, which could be labeled regular-irregular, groo

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42

Schroedter, Stephanie. "Embodying Musical Space." Congress on Research in Dance Conference Proceedings 2012 (2012): 132–39. http://dx.doi.org/10.1017/cor.2012.17.

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The epoch-making dance reforms of the early twentieth century did not only lead to new dance techniques, styles, and movement concepts, but also to an intensive search for new dialogues between music/sound and dance/movement. These new interactions were notable for their reliance on pre-existing music that was usually not intended for dance. Analogous to the choreographers' search for new movements in new (sound) spaces, composers looked for a new physicality of sounds (musical gestures), as well as for new spaces inside and outside of these sounds. Following these mid-twentieth-century develo

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Cole, William Davy. "TOUCH AS A MODEL FOR EXPANDED MUSICAL FORM." Tempo 73, no. 287 (2018): 62–70. http://dx.doi.org/10.1017/s0040298218000657.

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AbstractTouch is world-directed, temporally extended, exploratory contact and movement. It was by modelling his theory of perception on touch that Alva Noë was able to show (inAction in Perception, 2006) that perceptual experience acquires content through our physical interactions with the world, that the detail we perceive in the world ‘is experienced by us asout there, not asin our minds’ (p. 33). In this essay, I share some thoughts on how understanding musical experience on these terms, as touch-like, may be a useful means of looking past the work-concept to the wider field of musical poss

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Koven, Mikel J. "Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience (review)." Journal of American Folklore 116, no. 459 (2003): 120–21. http://dx.doi.org/10.1353/jaf.2003.0011.

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Moshaver, Maryam A. "Telos and Temporality: Phenomenology and the Experience of Time in Lewin's Study of Perception." Journal of the American Musicological Society 65, no. 1 (2012): 179–214. http://dx.doi.org/10.1525/jams.2012.65.1.179.

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Abstract In his 1986 essay on the intersections between music theory, phenomenology, and perception, David Lewin develops a heuristic model through which to come to terms with the constitution of multiple and heterogeneous perceptions of musical events. One of his principal vehicles for demonstrating this phenomenological turn is the well-known analysis of Schubert's “Morgengruß.” The present article considers the ramifications of Lewin's methodology, particularly with respect to the experience of time that emerges from Lewin's mobilization of the heuristic perception model, by approaching it

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Partida-Valdivia, José Marcos, and Jochen Dreher. "Interaction with sound-producing Objects in Preschool: Reflections based on the Phenomenology of Alfred Schutz." Investigaciones Fenomenológicas, no. 20 (December 21, 2023): 207–33. http://dx.doi.org/10.5944/rif.20.2023.38147.

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In this work we present some reflections about the interaction of preschool children (between 3 and 5 years old) with sound-producing objects. We implemented the phenomenological approach of Alfred Schutz, who under the influence of Edmund Husserl, elaborated his own notions concerning the Lebenswelt or life-world. We present some situations of interaction with musical instruments by children that have been documented in different research on musical education in early childhood, the same ones we use to exemplify possible analyses from the perspective of the phenomenology of the social world.

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Monang Asi Sianturi. "Music: Phenomenology of the Traditional Death Ceremony Performance of Saur Matua Batak Toba." Panamerican Mathematical Journal 35, no. 3s (2025): 404–12. https://doi.org/10.52783/pmj.v35.i3s.4397.

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Gondang Batak Toba music in death rituals has a central role in the traditional death ritual performances of the Batak Toba in North Sumatra, Indonesia. The arrival of Western culture to the Batak land greatly changed the main points of Toba Batak culture. Identification of the values of modernity, progress, education, and prosperity is often expressed with an affinity for what is considered modern. Interaction with new religions and Western values shook the old Batak traditional culture to its roots. Today's modern Toba Batak mourning ceremonies are no longer considered complete without Weste

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Steinfeld, Matthew, and Judson Brewer. "The Psychological Benefits from Reconceptualizing Music-Making as Mindfulness Practice." Medical Problems of Performing Artists 30, no. 2 (2015): 84–89. http://dx.doi.org/10.21091/mppa.2015.2014.

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While the music psychology and education literatures have devoted considerable attention to how musical instrumentalists practice their instruments, less formal scholarly attention has been given in consideration of what it means to maintain a musical “practice” over time and across context. In this paper, the practice of mindfulness meditation is used as heuristic, arguing for a view of mindfulness meditation as a formalized de-specialization of the infinite number of other activities with which people can achieve mindfulness. Sitting meditation, requiring of one to observe the contents of th

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Nozaradan, Sylvie. "Exploring how musical rhythm entrains brain activity with electroencephalogram frequency-tagging." Philosophical Transactions of the Royal Society B: Biological Sciences 369, no. 1658 (2014): 20130393. http://dx.doi.org/10.1098/rstb.2013.0393.

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The ability to perceive a regular beat in music and synchronize to this beat is a widespread human skill. Fundamental to musical behaviour, beat and meter refer to the perception of periodicities while listening to musical rhythms and often involve spontaneous entrainment to move on these periodicities. Here, we present a novel experimental approach inspired by the frequency-tagging approach to understand the perception and production of rhythmic inputs. This approach is illustrated here by recording the human electroencephalogram responses at beat and meter frequencies elicited in various con

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Saldanha, Marcelo Ramos, and Louis Marcelo Illenseer. "DEUS, “A BEM, SOE”! A VIDA REVELADA NO CANTUS FIRMUS." Revista Caminhos - Revista de Ciências da Religião 17, no. 1 (2019): 159. http://dx.doi.org/10.18224/cam.v17i1.6966.

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O presente artigo pretende analisar a música medieval, em específico a relação entre polifonia e grafia musical, a partir de conceitos próprios da fenomenologia de Michel Henry, demonstrando que o improviso possui em si um acesso não mediado à Vida no sentido que a fenomenologia da vida a define, e que a grafia, enquanto representação, se coloca historicamente como uma mediação e, até mesmo, como substituição da vida grafada. Assim, seguindo a metáfora de Dietrich Bonhoeffer nas últimas cartas do cárcere de Tegel, tal como foi retomada por Rubem Alves, propomos o cantus firmus como o elemento

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