In the context of his thoughts on the relationship between music and time in his Musical Writings, Adorno refers often to the above quoted thesis. This paradoxicality, attributed to particular symphonies of Beethoven,...In the context of his thoughts on the relationship between music and time in his Musical Writings, Adorno refers often to the above quoted thesis. This paradoxicality, attributed to particular symphonies of Beethoven, tends to become a fixed idea in the context of his thoughts on musical time. Adorno adopts Hegel＇s understanding of time as process of permanent overcoming of instants. He finds an analogy between instant and musical motive, based on the common, in Hegel＇s and Beethoven＇s systems, notion of the working-out of an idea and of a musical structure respectively. He then tries to include in the process of becoming extended and reappearing formal parts, such as themes and expositions. How could he find a convergence between permanent formal growth and persistence of formal parts, which distinguishes a musical work from an improvisation？ In order to transcend this immanent antinomy, he applies Hegelian logical principles.展开更多
Within the syncretic world view of prehistoric people, there was an inseparable link between word, song, and dance Hence it is not easy for the modern researcher to outline the border between these spheres. Using inte...Within the syncretic world view of prehistoric people, there was an inseparable link between word, song, and dance Hence it is not easy for the modern researcher to outline the border between these spheres. Using interdisciplinary methods, present paper touches the case of Armenian monodic music. Through analysis of song types （concerning labour, funeral, wedding, belief, worship, magic, mythology, epic, and dance）, music representatives, music performance places, and musical instruments, an attempt is made to consider the phenomenon within certain temporal borders. It turns out that the folk and folk-professional realistic music is simple and static in its essence and includes the invariant component of local culture, going back to the period of formation of early farming communities. Meanwhile with emerging social complexity since the Bronze Age, new and various forms of musical performance come to existence.展开更多
The aim of this paper is to create an interface for humanrobot interaction. Specifically, musical performance parameters （i. e. vibrato expression） of the Waseda Flutist Robot No. 4 Refined IV （WF-4RIV） are to be ...The aim of this paper is to create an interface for humanrobot interaction. Specifically, musical performance parameters （i. e. vibrato expression） of the Waseda Flutist Robot No. 4 Refined IV （WF-4RIV） are to be manipulated. This research focused on enabling the WF-4RIV to interact with human players （musicians） in a natu- ral way. In this paper, as the first approach, a vision processing algorithm, which is able to track the 3Dorientation and position of a musical instrument, was developed. In particular, the robot acquires image data through two catneras attached to its head. Using color histogram matching and a particle filter, the position of the musician＇s hands on the inset are tracked. Analysis of this data determines orientation and location of the iustnment. These pa- rameters are mapped to manipulate the musical expression of the WF- 4RIV, more specifically sound vibrato and volume values. The authors present preliminary experiments to determine if the robot may dynamically change musical parameters while interacting with a human player （i.e. vibrato etc. ）. From the experirnental results, they may confirm the feasibility of the interaction during the performance, although further research must be carried out to consider the physical constraints of the flutist robot.展开更多
文摘In the context of his thoughts on the relationship between music and time in his Musical Writings, Adorno refers often to the above quoted thesis. This paradoxicality, attributed to particular symphonies of Beethoven, tends to become a fixed idea in the context of his thoughts on musical time. Adorno adopts Hegel＇s understanding of time as process of permanent overcoming of instants. He finds an analogy between instant and musical motive, based on the common, in Hegel＇s and Beethoven＇s systems, notion of the working-out of an idea and of a musical structure respectively. He then tries to include in the process of becoming extended and reappearing formal parts, such as themes and expositions. How could he find a convergence between permanent formal growth and persistence of formal parts, which distinguishes a musical work from an improvisation？ In order to transcend this immanent antinomy, he applies Hegelian logical principles.
文摘Within the syncretic world view of prehistoric people, there was an inseparable link between word, song, and dance Hence it is not easy for the modern researcher to outline the border between these spheres. Using interdisciplinary methods, present paper touches the case of Armenian monodic music. Through analysis of song types （concerning labour, funeral, wedding, belief, worship, magic, mythology, epic, and dance）, music representatives, music performance places, and musical instruments, an attempt is made to consider the phenomenon within certain temporal borders. It turns out that the folk and folk-professional realistic music is simple and static in its essence and includes the invariant component of local culture, going back to the period of formation of early farming communities. Meanwhile with emerging social complexity since the Bronze Age, new and various forms of musical performance come to existence.
文摘The aim of this paper is to create an interface for humanrobot interaction. Specifically, musical performance parameters （i. e. vibrato expression） of the Waseda Flutist Robot No. 4 Refined IV （WF-4RIV） are to be manipulated. This research focused on enabling the WF-4RIV to interact with human players （musicians） in a natu- ral way. In this paper, as the first approach, a vision processing algorithm, which is able to track the 3Dorientation and position of a musical instrument, was developed. In particular, the robot acquires image data through two catneras attached to its head. Using color histogram matching and a particle filter, the position of the musician＇s hands on the inset are tracked. Analysis of this data determines orientation and location of the iustnment. These pa- rameters are mapped to manipulate the musical expression of the WF- 4RIV, more specifically sound vibrato and volume values. The authors present preliminary experiments to determine if the robot may dynamically change musical parameters while interacting with a human player （i.e. vibrato etc. ）. From the experirnental results, they may confirm the feasibility of the interaction during the performance, although further research must be carried out to consider the physical constraints of the flutist robot.
