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    Wyświetlanie 1-8 z 8
    Tytuł:
    Electronic music in the perspective of semiotics
    Autorzy:
    Humięcka-Jakubowska, Justyna
    Powiązania:
    https://bibliotekanauki.pl/articles/780311.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    electronic music
    sign
    meaning
    semantic level
    perception
    cognitive process
    Opis:
    The aim of the present article is to describe the unique idiom of electronic music in the perspective of semiotics. The starting point of this reflection is an attempt at a definition of what electronic music is. It then moves on to questions concerning the explanation of the two main concepts of semiotics, sign and meaning. Here, the goal is to outline the general tendencies in interpreting these concepts in the context of Pierce’s theory of sign and in the context of other concepts utilized in the field of narratology, i.e. diegesis and mimesis; with the aim of transferring these interpretations to the field of electronic music. The important nodes of this reflection are illustrated with specific examples of electronic musical works. The article also explores the semantic and cognitive attributes of electronic music and the relationships between them. The understanding of meaning in electronic music is explained in terms of analogies between the characteristics of cognitive processing of the sounds of everyday life and sounds utilized in electronic music.
    Źródło:
    Interdisciplinary Studies in Musicology; 2015, 14; 259-273
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Freedom in music on the example of the works of Karlheinz Stockhausen and Iannis Xenakis
    Autorzy:
    Humięcka-Jakubowska, Justyna
    Powiązania:
    https://bibliotekanauki.pl/articles/780099.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    freedom
    music
    Karlheinz Stockhausen
    Iannis Xenakis
    Opis:
    In her article titled Niebezpieczne związki, czyli o granicach wolności w sztuce i w życiu [Dangerous liaisons, or on the limits of freedom in art and life] Elżbieta Korolczuk (2013) claimsthat ‘the sense of personal freedom and independence from other people – not only in the senseof intellectual and aesthetic influences, but also familial and emotional ties – is often perceived asnecessary in order to create new, original works, to be a truly creative individual’. It is not difficult to find new and original works in the oeuvre of Karlheinz Stockhausen and Iannis Xenakis and,paraphrasing the words of Maria Anna Potocka (2013) – it is thanks to them that ‘the world has moderniseditself and freed itself from outdated values’. In relation to creative work in music, this ‘senseof personal freedom and independence from other people‘ leads, on the one hand, to the ‘freedom ofmusic’ and, on the other, ensures achieving ‘freedom in music’. The aim of this discussion is to pointto those threads in the statements of Stockhausen and Xenakis, and those features of their works,which testify to the specific manifestations of the ‚‘freedom in music’ created by them.
    Źródło:
    Interdisciplinary Studies in Musicology; 2019, 19; 81-94
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Mental Representations of Tonal Images in Twentieth-Century Sonoristic Compositions
    Autorzy:
    Humięcka-Jakubowska, Justyna
    Powiązania:
    https://bibliotekanauki.pl/articles/780227.pdf
    Data publikacji:
    2008
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Opis:
    .
    Źródło:
    Interdisciplinary Studies in Musicology; 2008, 7; 185-210
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    On certain ‘tools’for research into the perception and creation of music and the complex ways in which they affect one another
    Autorzy:
    Humięcka-Jakubowska, Justyna
    Powiązania:
    https://bibliotekanauki.pl/articles/780287.pdf
    Data publikacji:
    2011
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    perception
    musical structure
    modelling
    entropy
    probability
    Markov process
    mutual information
    parse
    expectation
    surprise
    Opis:
    Perception is a constructive mental process, which cannot be considered impersonally. Similarly, music cannot be cognised solely on the basis of its score, since its coming into being is strictly connected to the activation of human memory and sound imagination. The patterns that emerge from the sounds of heard music enable the listener to draw conclusions regarding the structures those sounds embody. However, such conclusions are accompanied by a degree of uncertainty, which concerns not just the perceived moment of the heard music, but also the way in which it is represented in the listener’s memory. Perception is an inferential, multi-layered, uncertain process, in which particular patterns seem more likely than others. Mental representations of those probabilities lie behind such essential musical phenomena as surprise, tension, expectation and pitch identification, which are fixed elements of theperception of music. The aim of the present article is to describe the essence of three selected types of music modelling, based on spectral anticipation (Shlomo Dubnov), based on memory (Rens Bod), and exploiting the dynamic character of music to obtain information (Samer Abdallah and Mark Plumbley). All these models take account of the element of uncertainty that accompanies the perception of music; hence they make use the foundations of information theory and statistical analysis as measurement ‘tools’. The use of these tools makes it possible to obtain numerical rates, which inform us of the degree of predictability of the musical structures being analysed. One crucial advantage of these methods is the possibility of evaluating them in respect to the use of real musical structures, deriving from actual music, and not abstract structures formed for the purposes of research. We obtain cognitive insight into the analysed music by employing methods of a mathematical provenance, and so we have the possibility of examining music whilst taking account of the role of the listener, but with the use of objectivised methods.
    Źródło:
    Interdisciplinary Studies in Musicology; 2011, 10; 61-76
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The spectralism of Gerard Grisey: from the nature of the sound to the nature of listening
    Autorzy:
    Humięcka-Jakubowska, Justyna
    Powiązania:
    https://bibliotekanauki.pl/articles/780307.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    spectral music
    Grisey
    sound
    timbre
    time
    Opis:
    The paper is an attempt to consider Grisey’s music from an ontological perspective, not only as a cultural product, but above all as an entity derived from the order of nature. The spectral music, as an entity derived from the order of nature, may be studied primarily as mental reality that refers directly to the composer’s stance, physical reality, that refers to the material from which the music is produced, and psychological reality of relating to its perception. In Grisey’s creative attitude, one distinguishes several tendencies. The article describes treating sound as a living organism in time, replacing the idea of timbrematière, from the traditional art of orchestration, with timbre-son, based on the science of acoustics, a processual approach to time and form, taking account in the creative process of human perceptual abilities and seeking a musical language based on scientific premises. These tendencies are described in the context of the composer's statements and examples of his work. Taking the nature of sounds as his starting point, Grisey headed towards the nature of listening, and the effects of this journey are his clearly specified views and their manifestation in composed musical works.
    Źródło:
    Interdisciplinary Studies in Musicology; 2009, 8; 227-252
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wioleta Muras, „Twórczość użytkowa Witolda Lutosławskiego w świetle jego biografii i w kontekście przemian audiosfery XX w.”
    Autorzy:
    Humięcka-Jakubowska, Justyna
    Powiązania:
    https://bibliotekanauki.pl/articles/1396412.pdf
    Data publikacji:
    2020-12-31
    Wydawca:
    Polska Akademia Nauk. Instytut Historii Nauki im. Ludwika i Aleksandra Birkenmajerów
    Źródło:
    Analecta. Studia i Materiały z Dziejów Nauki; 2020, 29, 2; 215-219
    1509-0957
    Pojawia się w:
    Analecta. Studia i Materiały z Dziejów Nauki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-8 z 8

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