Relevant bibliographies by topics / Space time movement music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Space time movement music'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Space time movement music"

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Young, Susan. "Time–space structuring in spontaneous play on educational percussion instruments among three- and four-year-olds." British Journal of Music Education 20, no. 1 (March 2003): 45–59. http://dx.doi.org/10.1017/s0265051702005284.

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This article reports on a study which investigated the spontaneous instrumental music-making of three- and four-year-olds in typical pre-school educational settings in London, UK. It argues that many prior studies of children's music-making have analysed and evaluated such activity against models drawn from the practices of Western art music and its conventions of analytical theory, and suggests that this approach has certain drawbacks. The study adopted a grounded theory methodology moving through three phases in different nursery classrooms. Each phase was characterised by successive focusing and refinement of methodological tools in response to the emerging findings. Data were collected on videotape which was then repeatedly reviewed, transcribed and categorised. The children's music-making was analysed as relational processes in time and space involving the two-way interplay of child and instrument. Structures in space delineate the child's movement within the spatial potentials and constraints of the instrument design. Structures in time describe how movements and movement ideas were strung together in ever-lengthening portions.
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Marty, Nicolas. "Deleuze, Cinema and Acousmatic Music (or What If Music Weren’t an Art of Time?)." Organised Sound 21, no. 2 (June 30, 2016): 166–75. http://dx.doi.org/10.1017/s1355771816000091.

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Drawing on Deleuze’s work about cinema (the ‘movement-image’ and the ‘time-image’), this article explores formal and aesthetic resonances with sound-based music, distinguishing between aesthetics of energy, articulation and montage, and aesthetics of contemplation, space and virtual relations. A second perspective is given, focusing on how listening behaviours may impose a ‘movement-image’ or a ‘time-image’ lens through which we could experience and remember a work’s form. This is exemplified with a short analysis of the first section ofChat Noir(1998–2000) by Elizabeth Anderson.
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SCHÄFER, SABINE, and JOACHIM KREBS. "Sound – Time – Space – Movement: the Space-soundInstallations of the artist-couple 〈sabine schäfer // joachim krebs〉." Organised Sound 8, no. 2 (August 2003): 213–25. http://dx.doi.org/10.1017/s1355771803000128.

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This article describes the theories and practices of the German installation artists and composers Sabine Schäfer and Joachim Krebs. Much of their work concerns site-specific sound installations involving the articulation of time and space. Their principal work methods and materials are described. In addition, they have formulated a typology of five installation types which they describe using their own installations as examples. Each installation type responds to a particular set of aesthetic and practical challenges both for the artists and the visitors. These are discussed and illustrated in the article. The typology extends beyond the specific work of these artists and can be applied to installations in general, thus providing a framework for critical analysis. Furthermore, the translators have discussed the issues regarding the specialised vocabulary of the artists and the rendering of such language into English.
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Leonhardmair, Teresa. "Leiturgía – Ort der musiké: Plädoyer für eine Perspektive auf Kirchen-Musik als heteromodales Ereignis." Review of Ecumenical Studies Sibiu 7, no. 3 (December 1, 2015): 422–40. http://dx.doi.org/10.1515/ress-2015-0031.

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The meaning of music exceeds the mere acoustic noise. Liturgy clarifies that fact. Focusing aesthetic modes music is considered as defined by the ancient Greek term musiké, back then the union of movement/dance, sound, poetry. As performance musiké correlates with liturgy (performance as well) in a special way. The bodily and transcendent dimensions of musiké arise in liturgy – something performative, i.e. evolving from doing. Liturgy and music are connected with bodily presence (incarnation) and movement – the fundament of life. Both corporal actions and expressive dance in liturgy exist as a form of musiké. Using the example of resonance, listening, polyaisthesis, time/space it becomes apparent that musiké is movens, confronting us with the alien, carrying us to foreign spaces. Leiturgía is a specific aesthetic site where church music opens peculiar the human dimension of musiké. Our society is in need of such places.
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Neidhöfer, Christoph. "Experiencing Time in Brian Cherney’s String Quartet No. 4 (1994)." Intersections 37, no. 1 (May 17, 2019): 119–42. http://dx.doi.org/10.7202/1059891ar.

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Brian Cherney’s Fourth String Quartet (1994), in one movement lasting half an hour, is striking for its formal coherence and diversity of materials. The work achieves large-scale cohesion not only through an intricate interplay of three simultaneously unfolding “main structures”—four attacca movements in one, on one level, seven sections forming certain temporal proportions, on another, and four cycles of “breathing rhythms” derived from the same proportions on a third level, as documented in the manuscript sources—but also through the continually fluctuating tension we experience throughout the movement between ontological and psychological time. Pierre Souvtchinsky’s notion of a “counterpoint” between “ontological time” (i.e., clock or real time) and a particular music’s inherent time shaped by “the material and technical means by which [the] music is expressed” is referenced to demonstrate how in Cherney’s quartet fixed proportions and slow, stable polyrhythms active in the background afford space for foreground activity that has its own sense of time. The article further explores the notion of time in a second, metaphorical dimension, as concerns intertextual allusions in the quartet.
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Berehova, Olena. "Ukrainian piano competitions in the space of global intercultural dialogue." Culturology Ideas, no. 20 (2'2021) (2021): 78–89. http://dx.doi.org/10.37627/2311-9489-20-2021-2.78-89.

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The article clarifies the influence of globalization on the musical culture of Ukraine, in particular, on international piano competitions. It emphases the role of global music organizations, which play an important integrative role in the processes of international artistic exchange and at the same time are a communication field for the demonstration of the best national artistic creative practices. In the field of international music competitions, the most influential organizations, in particular, are the World Federation of International Music Competitions, European Union of Music Competitions for Youth, Alink-Argerich Foundation, etc. The study of information materials of Ukrainian international piano competitions, which are the members of these prestigious international organizations, revealed global trends in the development of the competition and festival movement. Specific examples of international music festivals and other art projects initiated by the organizing committees of Ukrainian piano competitions have shown that they contribute to the development and promotion of Ukraine's cultural identity globally, help spread the best national traditions of musical performance in the world and are one of the best forms of cultural diplomacy.
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Kolić, Neda. "Mondrian's "transdance": Transposition of music and dance movements into painting." New Sound 53, no. 1 (2019): 70–88. http://dx.doi.org/10.5937/newso1901070k.

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The syntagm, Mondrian's "transdance" is a term with which the author wanted to symbolically indicate the main research interest presented in this paper, that is, the examination of how the basic stance, steps and movements in the Foxtrot and, implicitly, the main elements of jazz, i.e. melody, rhythm, harmony, are transposed into the particular visual compositions - Fox Trot A (1930) and Fox Trot B (1929). All of these particular art forms (dance, painting, and music), though very different in the aesthetical and poetical respect, are nevertheless connected with one essential element - movement, as a measure of both time and space. In this consideration of painting as a temporal, and not only a spatial object, the visual art discourse is influenced by the vocabulary of the art of music and of dance. Thus, this paper should be understood as the author's intimate observation of time-space transpositions (at the wider level), as well as the author's discussion about the latent (interdisciplinary) 'dialogue' which the painter, Piet Mondrian, aka "The Dancing Madonna", conducted with dance and music (in the strictest sense). This premise is explored from several aspects, but none of them deviates from the main methodological course, determined by the "interdisciplinary model of musicological competence" (Veselinović-Hofman).
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McManus, Laurie. "Feminist Revolutionary Music Criticism and Wagner Reception." 19th-Century Music 37, no. 3 (2014): 161–87. http://dx.doi.org/10.1525/ncm.2014.37.3.161.

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Abstract Histories of progressive musical politics in mid-nineteenth-century Germany often center on the writings of Richard Wagner and Franz Brendel, relegating contributors such as the feminist and author Louise Otto (1819–95) to the periphery. However, Otto's lifelong engagement with music, including her two librettos, two essay collections on the arts, and numerous articles and feuilletons, demonstrates how one contemporary woman considered the progressive movements in music and in women's rights to be interrelated. A staunch advocate of Wagner, Otto contributed to numerous music journals, as well as her own women's journal, advising her female readers to engage with the music of the New German School. In the context of the middle-class women's movement, she saw music as a space for female advancement through both performance and the portrayals of women onstage. Her writings offer us a glimpse into the complex network of Wagner proponents who also supported women's rights, at the same time providing evidence for what some contemporary conservative critics saw as a concomitant social threat from both Wagnerian musical radicalism and the emancipated woman.
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Roseth, Nicholas E. "A Survey of Secondary Instrumental Teachers’ Immediacy, Ensemble Setup, and Use of Classroom Space in Colorado and Indiana." Journal of Research in Music Education 68, no. 3 (September 1, 2020): 305–27. http://dx.doi.org/10.1177/0022429420944227.

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The purpose of this study was to survey secondary band and orchestra teachers ( N = 436) in Colorado and Indiana regarding their self-reported immediacy behaviors, ensemble setups, and use of classroom space when teaching. Immediacy “refers to nonverbal teacher behaviors which increase nonverbal interaction with students and which communicate closeness.” Female teachers and teachers of young ensembles reported higher levels of overall immediacy. Among component immediacy behaviors, teachers reported using proximity-related behaviors the least; females reported using proximity behaviors at higher rates than males. The majority of teachers reported using “closed” ensemble setups (i.e., setups that limit teacher movement among students) and remained in these setups for the majority of the school year. Teachers of young ensembles reported greater use of “opened” setups (i.e., setups that help facilitate teacher movement among students). Although teachers reported spending the majority of rehearsal time on the podium, female teachers, teachers of young ensembles, and teachers who used opened setups reported less time on the podium and more time moving among students. Implications for immediacy, ensemble setup, and teacher use of space in music education are discussed.
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Kolomiets, Galina G. "Philosophy of Music in the Image of the World: From Antiquity to the Modern Time." RUDN Journal of Philosophy 25, no. 1 (December 15, 2021): 139–55. http://dx.doi.org/10.22363/2313-2302-2021-25-1-139-155.

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The article presents philosophical views on music in the context of the transformations of the worldview from Antiquity to the Modern Time. In this research author also mentions the contemporary issues, and uses her own philosophical concept of the music, which can be described as following: the value of music as a substance and the way of the valuable interaction of a person with the world affirm the essence of musical being, in which the invariable principle of Harmony, the principle of Chaos-Form movement, is preserved (see "The Value of the Music: Philosophical Aspect"). Music expresses the fluid essence of the world and changes of being in space and time. Philosophy of music as a field of philosophical knowledge considers music from ontological-epistemological and phenomenological-axiological prospectives, as something more than just a form of art. It explores the deep, ultimate foundations of the existence of music as such and the philosophical and aesthetic foundations of musical art. Since ancient times music has been a representation of the world in the human conscience and served as the harmonic equivalent of cosmological philosophy, mathematics, astronomy, and astrophysics (Pythagoras, Plato, Aristotle, Aristoxenus, Porphyry et als.). The scientific view on music was enriched in the Modern Time by the expanded view on the cosmo-sound space reflected in musical art, which at the same time transforms the mathematical ideas of geometricity, squareness etc. The tendency to create integral world music in the musical practice of the XX-XXI centuries explains the attempt of mankind to present music by modern methods of composing musical art as an expression of fear towards the secret Harmony of universal existence, and, on the other hand - as a form of search for salvation and mental balance, intuitively reflecting what is happening in natural science, which more and more points to the abyss of unknowable universe, and the unstable place of man in the world.
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Dissertations / Theses on the topic "Space time movement music"

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Johnes, Jonathan R. "Human movement the transition of people through space and time /." Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/378.

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Guimond, David. "(Re)sounding : disintegrating visual space in music." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102803.

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While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, there have unfortunately been relatively few attempts to imagine space away from the visual in a way that challenges its traditional absoluteness. To this end, it is argued that because sound and music contain implicit and explicit spatialities, the sonic represents a rich and unexplored area from which to imagine a radical non-visual space that discursively organizes space according to a different economy through which to challenge its assumed visuality. And yet, even when space has been approached through sound, there is a tendency to exteriorize sound into an object or a set of practices that robs it of its defining quality---its own "soundfulness". By breaking down those factors that are considered salient to how space is conceived today along sonic rather than visual lines, the argument is made that the "soundfulness" of sound's physical properties gives it a complex texture of excess that is corporealized within the body and forwards the philosophical possibility of unfolding the spatiality of sound according to vectors beyond the visible in a way that, while reflecting contemporary concerns, prevents its return to absoluteness. To take seriously this "soundfulness" thus allows us to recuperate the sonic as a philosophical and political way of experiencing and knowing the world, including that of space. The arguments, as well as being drawn from the insights of contemporary spatial theory, the physics of sound, the phenomenology of listening, rhizomatic and feminist theory, quantum mechanics and musicology, will be explained through an understanding of space as sound and exemplified in The Disintegration Loops, a post-minimalist musical piece by sonic artist William Basinski.
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Sell, Andrea J. "The influence of movement on the directionality of space-time representation mappings." Tallahassee, Florida : Florida State University, 2009. http://etd.lib.fsu.edu/theses/available/etd-10302009-134713/.

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Thesis (M.S.)--Florida State University, 2009.
Advisor: Michael Kaschak, Florida State University, College of Arts and Sciences, Dept. of Psychology. Title and description from dissertation home page (viewed on May 14, 2010). Document formatted into pages; contains vii, 25 pages. Includes bibliographical references.
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Van, Dokkum Elisabeth Henriëtte. "Unfolding movement in time and space : defining upper-limb recovery post-stroke." Thesis, Montpellier 1, 2013. http://www.theses.fr/2013MON14004/document.

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Plusieurs champs de recherche ont été combinés - mettant en évidence l'utilité de l'analyse cinématique, non seulement afin d'évaluer le comportement moteur, mais aussi afin de contribuer à la compréhension de la récupération motrice post-AVC. Au travers d'analyses cinématiques, les mouvements du membre supérieur hémiplégique ont été décomposés dans le temps et l'espace, afin d'en extraire l'échelle et les composantes structurelles. Cette décomposition systématique, d'abord connue pour son bien-fondé clinique, nous a permis d'identifier les marqueurs les plus pertinents du contrôle du membre supérieur parétique : i.e., la fluidité, la rectitude et la vitesse. Subséquemment, il a été démontré que i) les changements cinématiques se stabilisent au cours de la phase de rééducation, indiquant potentiellement la nécessité de modifier la stratégie thérapeutique; ii) les patient post-AVC sont capables de percevoir la fluidité du mouvement en réalité virtuelle, cette perception étant meilleure lorsque le feedback visuel ne concerne que le point du travail du membre; iii) l'espace de travail post-AVC n'est pas isotrope pour un patient hémiplégique; iv) chez les patients post-AVC, le niveau de ‘bruit neuromoteur' est augmenté; et v) la cinématique reflète la conséquence des stratégies d'adaptation à l'augmentation du bruit, ces stratégies étant basées sur un compromis entre des modes de contrôle d'erreur en feedforward et en feedback des actions motrices. Ainsi, il peut être conclut que la décomposition du mouvement dans le temps et l'espace est un moyen simple et efficace d'appréhender contrôle moteur chez l'Homme en situation normale et âpres AVC. L'enjeu est maintenant d'implémenter ces méthodes d'analyse cinématique dans les protocoles de rééducation post-AVC quotidienne afin de développer de larges bases de données permettant, à l'aide de méthodes de modélisation, de définir des profils de récupération et ainsi personnaliser de façon optimale la rééducation à chaque patient particulier
Multiple research fields were combined – highlighting the value of kinematic analysis, not only to evaluate motor behaviour, but also to contribute to the understanding of motor recovery post-stroke. By means of kinematics, hemiplegic upper-limb movements were unfolded in time and space, to extract the scaling and structural components of the movement. This systematic decomposition, first proven to have clinical relevance, allowed us to identify the most pertinent markers of paretic upper-limb control: i.e. smoothness, directness and velocity. Subsequently it was shown that i) change in kinematics levels off over rehabilitation, possibly indicating that treatment may profit from change; ii) people post-stroke are able to perceive movement fluency in virtual realities, whereby simple end-point displays facilitate perception; iii) the workspace post-stroke is heterogeneous; iv) stroke patients have increased levels of neuromotor noise; and v) kinematics reflect the outcome of adaptation strategies to the increased noise in relation to the automaticity of error-corrections on the trade-off between feedforward and feedback based motor control. It may thus be concluded that unfolding the movement in space and time, is a simple and powerful way to define human motor control. The challenge is to implement kinematic analysis in daily post-stroke practice to develop a large database enabling the definition of recovery profiles contributing to provide each individual patient with the right therapy at the right time
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Papadopoulos, Marios. "Motion in music : a study of movement and time through musical interpretation." Thesis, City University London, 1996. http://openaccess.city.ac.uk/7769/.

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'Motion in Music' is a study of movement and time through musical interpretation. It looks at ways in which motion, both physical and conceptual, is featured in the musical performance and it is, therefore, written with the performance of music in mind. As such, it provides us with a fresh approach to music-making. The study is based on a series of definitions and a distillation of personal experiences rather than a summation of experimental observations. In view of the author's musical background, the piano is featured most prominently in this study. In Chapter I, we examine the background on the subject and, so as to determine to what extent such motion is virtual and to what extent real, we look at it in its aesthetical, psychological and philosophical contents. The act of music-making is then analysed in four stages: from the preparatory, to the moment contact is made with the instrument and to the passage through time from one note to the onset of the next. The concept of the 'sphere', as representing the musical tone, is introduced in order to trace the course of this sonorous body through tonal space. In the ensuing chapters, we examine the forces which initiate sound - the mechanisms of the instrument and the mechanics of the body - and see how the tonal body reacts when these are applied. Such an investigation permits us, however loosely, to relate musical phenomena tothe laws of motion and to show how the sonorous body, once set in motion, undergoes changes to its speed, shape and direction - changes we refer to as 'speed of music', 'mass of music' and 'direction of music'. As the perception of movement in music involves directly or indirectly the participation of all our sensory system, both in the creative process of expressing the musical line and in its apprehension in the first place, we examine its effect on our tactile, auditory and visual channels of communication. In order to enhance our understanding of musical growth and musical progression further, we impart to it a visual perspective based, amongst others, on melodic contour and bodily movement as well as on the gestures of the conductor or those commonly used in the world of pedagogy. Thus, in Chapter V, a series of free hand-produced graphic representations emerge which represent such musical activity. By way of conclusion, we seek out various degrees of motion and their relationships. We identify these as being of paramount importance in producing aesthetically pleasing musical textures and propose further study as to the precise nature of such relationships.
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Tarren, Christopher James. "Time, space, memory : a portfolio of acousmatic compositions." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5208/.

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This portfolio comprises of a collection of acousmatic works which investigate the role of source bonding in music – the tendency of listeners to relate sounds to their real-world sources and the signifying implication of such a link – with a particular focus on how spatial design can contribute towards source-bonding in the music’s perception as a holistic spatio-sonic entity. A number of compositional strategies, multichannel formats and spatial audio technologies are investigated, with their merits assessed based on their suitability for shaping the qualities of musical space explored. The discussion in this commentary will show how these holistic spaces can have similar qualities of perceived ‘reality’ and ‘abstraction’ to the individual sounds, and how this is investigated in the musical works. I shall also show how the contrasting environmental qualities of these spaces became a source of of inspiration for structuring the development of my music, and how they might evoke subsequent meaning in their experience based on the listener’s understanding of the spatial source bonds.
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Tonkin, Christopher Tonkin Christopher Tonkin Christopher. "Compositional metaphors of space and perspective /." Diss., Connect to a 24 p. preview or request complete full text in PDF formate. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3266845.

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Thesis (Ph. D.)--University of California, San Diego, 2007.
Vita. Discusses the composer's use of the metaphors of space and perspective in his works, IN and Headspaces, the scores for which are included in the dissertation.
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Holdar, Magdalena. "Scenography in Action : Space, Time and Movement in Theatre Productions by Ingmar Bergman." Doctoral thesis, Stockholm : Konstvetenskapliga institutionen, Stockholms universitet, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-427.

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Potts, Ben N. "Sound as, and beyond, sculpture : a creative investigation of physicality, space and movement through otoacoustic emissions." Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34772/.

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This research project has explored the relationship between sound and sculpture, looking particularly at how sound can become sculptural. A sound sculpture is defined in this project as a sound-only entity, which explicitly extends sound’s physical and spatial aspects to take on the role of a physical, visual sculpture. In this research, this is achieved by the use of otoacoustic emissions. There is a lack of music and sound art material that actively intends to utilise the creative potential of otoacoustic emissions. This portfolio of works explores the bodily sensation of otoacoustic emissions and importantly, the agency the audience/listener has on changing their own perception and experience of the sound through their movement choices around an installation space. This novel application of otoacoustic emissions is what the author terms ‘otokinetic shaping’. This goes beyond that of the visual sculptural paradigm by introducing an element of audience participation and control. The pieces are created in a manner in which they are a collaboration between the artist and the audience, with the audience having more creative control than the artist on the work’s sound, structure and duration. The works also examine creative themes such as minimalism and indeterminacy controlled by computer algorithms as a method of extending the already limited decisions made in the creative and compositional process by the artist.
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Terzian, Deirdre A. (Deirdre Ann). "How color and light change our perception of space, time and movement in architecture." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/37188.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1997.
Includes bibliographical references (p. 45).
This thesis explores the way in which color and light change the way we understand our built environment. The site for this thesis is at the west end of the Esplanade. The Esplanade is a recreational park along the Boston side of the Charles River in Massachusetts. The park has built facilities for sailing, concerts, and eating that detour off to one side or the other of the park's system of paths. The topography of the site is quite flat. Movement through the park is seemingly timeless as one walks parallel to the water, past unremarkable landmarks. The west end of the Esplanade is a long, narrow strip of land between the Charles River and a small lagoon. Through the exploration of color and light, this thesis tries to recover a sense of time at both a large and small scale as one moves through the site. The sense of time is revealed through the constantly changing interaction between light and materials as the sun moves from east to west. It also tries to introduce a new spacial understanding of the site by breaking away from the existing parallel movement both physically and visually. The vehicle for this exploration is a proposal for a recreational building that includes a swimming pool with changing facilities, cafe and community art gallery.
by Deirdre A. Terzian.
M.Arch.
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Books on the topic "Space time movement music"

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Engelmann, Jonas. Access denied: Ortsverschiebungen in der realen und virtuellen Gegenwart. Mainz: Ventil, 2011.

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ill, Dodge Bill, and Grote Rich ill, eds. Rose faces the music. Portland, ME: Magic Attic Press, 1997.

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A dance to the music of time: Third Movement. Chicago: University of Chicago Press, 1995.

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Knight, David B. Landscapes in music: Space, place, and time in the world's great music. Lanham, MD: Rowman & Littlefield Pub., 2004.

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Landscapes in music: Space, place, and time in the world's great music. Lanham, Md: Rowman & Littlefield Publishers, 2006.

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Vella, Richard. Sounds in space, sounds in time: Projects in listening, improvising and composing. London: Boosey & Hawkes Music Publishers, 2003.

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Zeit, Dauer und Veränderung: Zur Kritik reiner Bewegungsvorstellungen. Bielefeld: Transcript, 2014.

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Holdar, Magdalena. Scenography in action: Space, time and movement in theatre productions by Ingmar Bergman. Stockholm: Konstvetenskapliga institutionen, 2005.

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Rasmussen, Anne K., Birgit Abels, and Barbara Alge. Music in Oman: Politics, identity, time, and space in the sultanate. Berlin: VWB, Verlag für Wissenschaft und Bildung, 2012.

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The space/time connection: Power techniques to change your life. St. Paul, Minn: Llewellyn, 1989.

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Book chapters on the topic "Space time movement music"

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Flach, Sabine. "Moving is in Every Direction." In Bewegungsszenarien der Moderne, 165–76. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-10.

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Traditionally, art history divided the arts into four genres: painting and sculpture, poetry and music. Hence the art-historical canon was dominated by a strict division into the arts of space and those of time. Movement (both of an internal and externalized kind) did not find a place within this classificatory corset. In 1766, Gotthold Ephraim Lessing framed the classical art-theoretical approach through his famous text ‚Laocoon: An Essay on the Limits of Painting and Poetry‘, in which he splits the arts into those unfolding in time and those unfolding in space. Lessing’s ‚Laocoon‘ is the founding text defining poetry and music as time-based, sculpture and painting as space-orientated. By 1900, this strict system of classification and hierarchization began to dissolve, giving way to cross-border experiments in the arts of the twentieth century up to the present day. This overturning of classical genre divisions between the static and the dynamic arts, between sculpture, installation, and performance enables us to examine artworks as variations of movement in terms of ‚constellations between scene and scenario‘. Furthermore, the development of movement as an artform implies the activation of the audience in participatory arts practice.
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Galton, Antony. "Space, Time, and Movement." In Spatial and Temporal Reasoning, 321–52. Dordrecht: Springer Netherlands, 1997. http://dx.doi.org/10.1007/978-0-585-28322-7_10.

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Suler, John, and Richard D. Zakia. "Space, Time, and Movement." In Perception and Imaging, 111–40. Fifth edition. | New York : Routledge, Taylor & Francis: Routledge, 2017. http://dx.doi.org/10.4324/9781315450971-4.

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Robinson, Luke. "Time, Space and Movement." In Independent Chinese Documentary, 74–102. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137271228_4.

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Mazzola, Guerino, Yan Pang, William Heinze, Kyriaki Gkoudina, Gian Afrisando Pujakusuma, Jacob Grunklee, Zilu Chen, Tianxue Hu, and Yiqing Ma. "Manifolds in Time and Space." In Computational Music Science, 159–62. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00982-3_19.

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Tobler, Waldo. "Movement Takes Time: A Note on the Time of Movement." In Structure and Change in the Space Economy, 61–65. Berlin, Heidelberg: Springer Berlin Heidelberg, 1993. http://dx.doi.org/10.1007/978-3-642-78094-3_5.

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Forde, Susan. "Space, Time and Mostar: Welcome to Mostar." In Movement as Conflict Transformation, 1–20. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92660-5_1.

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Nordera, Marina. "Is choreo-graphy a matter of time or space?" In Music-Dance, 107–21. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-7.

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Dick, Steven J. "Pulkovo Observatory and the National Observatory Movement: A Historical Overview." In Space, Time, and Aliens, 403–16. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41614-0_24.

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Jackson, Brian M. "Plot Point on the Space-Time Continuum." In The Music Producer’s Survival Guide, 61–106. Second edition. | New York, NY : Routledge, 2018. | Series: Sound on sound presents: Routledge, 2018. http://dx.doi.org/10.4324/9781315519777-3.

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Conference papers on the topic "Space time movement music"

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Makomaska, Sylwia. ""NO WALLPAPER MUSIC� MOVEMENT IN POLAND - THE DEBATE ON THE PRESENCE OF BACKGROUND MUSIC IN THE PUBLIC SPACE." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b31/s8.001.

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Trung Vinh Tran, Phuoc Vinh Tran, and Tha Thi Bui. "Representing uncertain time on space-time cube for bus movement." In 2013 International Conference on Control, Automation and Information Sciences (ICCAIS). IEEE, 2013. http://dx.doi.org/10.1109/iccais.2013.6720581.

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Di Claudio, Elio D., and Giovanni Jacovitti. "Wideband source localization by space-time MUSIC subspace estimation." In 2013 8th International Symposium on Image and Signal Processing and Analysis (ISPA). IEEE, 2013. http://dx.doi.org/10.1109/ispa.2013.6703762.

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Trickett, Terry. "Architecture as Music: A personal journey through time and space." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.71.

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Chen, Nutan, Maximilian Karl, and Patrick van der Smagt. "Dynamic movement primitives in latent space of time-dependent variational autoencoders." In 2016 IEEE-RAS 16th International Conference on Humanoid Robots (Humanoids). IEEE, 2016. http://dx.doi.org/10.1109/humanoids.2016.7803340.

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Kasprowski, Pawel, and Katarzyna Harezlak. "Disk space and load time requirements for eye movement biometric databases." In INTERNATIONAL CONFERENCE OF NUMERICAL ANALYSIS AND APPLIED MATHEMATICS 2015 (ICNAAM 2015). Author(s), 2016. http://dx.doi.org/10.1063/1.4951954.

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Zhou, Fei, Lu-kai Wang, and Xin-yue Fan. "An improving beam-space MUSIC time delay estimation algorithm for OFDM signal." In 2012 9th International Conference on Fuzzy Systems and Knowledge Discovery (FSKD). IEEE, 2012. http://dx.doi.org/10.1109/fskd.2012.6234144.

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Sihao Tan, Huilin Zhou, and Lei Xiang. "An automatic framework using space-time processing and TR-MUSIC for subsurface imaging." In 2012 14th International Conference on Ground Penetrating Radar (GPR). IEEE, 2012. http://dx.doi.org/10.1109/icgpr.2012.6254875.

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Cheng, Stone, and Charlie Hsu. "Development of motion rendering using Laban movement analysis to humanoid robots inspired by real-time emotional locus of music signals." In 2015 24th IEEE International Symposium on Robot and Human Interactive Communication (RO-MAN). IEEE, 2015. http://dx.doi.org/10.1109/roman.2015.7333627.

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Yao, Bin, Haisen Li, Tian Zhou, Baowei Chen, and Haixin Yu. "Real-Time Implementation of Multiple Sub-array Beam-Space MUSIC Based on FPGA and DSP Array." In 2008 Fifth IEEE International Symposium on Embedded Computing (SEC). IEEE, 2008. http://dx.doi.org/10.1109/sec.2008.6.

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Reports on the topic "Space time movement music"

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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
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