Musicology 18 (I /2015)

У савремено доба смене миленијума, у току је даљи развој хуманистичких дисциплина, али и преокрети у погледу тематских усмерења и методологија проучавања. Раније зачети правци размишљања и истраживања у новом добу се преобликују и попримају нове смернице, паралелно са савременим појавама и значајним, а некад и коренитим променама у друштву и култури, новим облицима комуникације и посредством различитих медија; уз то, и идеолошка полазишта се непрестано преобликују. У корак с тиме, долази и до нових искустава и достигнућа и у хуманистици, а научни дискурс којим се она обухватају све више се заснива на искуствима најразличитијих теоријских приступа. Нова поља на којима се одвијају процеси у домену друштвених и културних струјања, као и опште рецепције и перцепције, условљавају и промене визуре посматрања одређених процеса у музичкој култури, контекста извођења музике, па и структуре конкретних музичких текстова. Услед живог интересовања за ове феномене, као главна за радове у овом и у наредном броју Музикологије одређена је тема (Етно)музикологија на преласку из XX у XXI век. Она обухвата широк спектар актуелних питања у области уметничке, црквене, традиционалне и популарне музике, као и у области вишемедијског уметничког израза. У оквиру ње су третиране и различите научне методологије, иманентне новом, савременом добу, било да је реч о проблематици којој се прилази из нових аспеката, било о специфичним, савременим темама и проблемима. Радови у оквиру главне теме осамнаестог броја Музикологије посвећени су, пре свега, различитим савременим методолошким приступима. Тако су у часопису заступљени текстови: о методологијама тумачења неумске нотације у проучавању византијске црквене музике, затим о новим правцима у проучавању афекта у сфери етномузикологије и музикологије, као и о новим смерницама у тумачењу порекла вишегласног певања у традицијској пракси као конститутивног дела историјског развоја људског друштва. Један рад је посвећен савременим правцима истраживања процеса конституисања колективитета у популарној музици, а један рад следи правац женских студија у уметничкој музици, сходно новим идеолошким и теоријским полазиштима у савременој култури и науци. Рубрика Varia доноси неколико прилога различитих тематских усмерења. Прва је етномузиколошка студија која разматра феномен бимузикалности у традиционалној сеоској вокалној пракси југоисточне Србије. Следи музиколошки чланак о месту и положају Леоша Јаначека (Leoš Janáček) и Сигмунда Фројда (Sigmund Freud) у Бечу као мултинационалној и мултикултурној средини, а затим рад посвећен до сада мало истраживаној теми говорних хорова као делу позоришног и књижевно-музичког стваралаштва централне Европе у првих тридесет година XX века.In this current time of transition from one millennium to another, humanistic disciplines are still being developed, simultaneously with a turnaround regarding thematic directions and study methods. Conceived trends in thinking and research are being reshaped and receive new guidelines, in parallel with contemporary ideas and significant, sometimes radical, changes in society and culture, with new forms of communication, using different media. Besides this, ideological starting points are also continually being reshaped. At the same time, there are new experiences and achievements in the humanities, and the discourse methods encompassed are increasingly based on experiences of the most varying theoretical approaches. The new fields in which processes are unfolding in the domain of social and cultural trends, as well as their general reception and perception, also condition changes in perspective in the observation of certain processes in musical culture, the context of musical performance, and even the structures of actual musical texts. The lively interest in these phenomena has determined the main theme for works in this and the next edition of Musicology: (Ethno)Musicology at the Turn of the Millennium. This edition encompasses a wide spectrum of current questions in the fields of musical, religious, traditional, and popular music, as well as in the area of multimedia art expression. In this context we include different methodological approaches, imminent in the new contemporary age, whether the question is of problems approached from new perspectives, or of specifically contemporary themes and problems. Articles in the context of the main theme of the eighteenth edition of Musicology are especially dedicated to different contemporary methodological approaches. So, in this edition of the magazine the represented texts are: methodologies of interpreting neum notation in the study of Byzantine church music; new directions in the study of the affect and sphere of ethnomusicology and musicology; and new trends in the interpretation of the origins of multi-part singing in traditional practice as a constitutive part of the historical development of human society. One article is dedicated to contemporary trends in researching the process of creating collectivities in popular music, and one follows the direction of female studies in art music, in accordance with new ideological and theoretical approaches in contemporary culture and scientific studies. The Varia section provides several papers from various thematic areas. The first is an ethnomusicological study, which considers the phenomenon of bimusicality in the traditional rural vocal practice of southeast Serbia. A musicological article follows on the place and position of Leoš Janáček and Sigmund Freud in the multinational and multicultural setting of Viena. Finally there is a paper dedicated to the hitherto little-researched theme of speech choirs within the theatrical and literary-musical creativity of Central Europe in the first thirty years of the 20th century.Тема броја: (Етно)музикологија на преласку из XX у XXI век (I) / Тhe MainTheme: (Ethno)musicology at the Turn of the Millennium (I) Oбјављивање часописа помогли су Министарство просвете, науке и технолошког развоја Републике Србије и Министарство културе и информисања Републике Србије. / The publication of the journal is financially subsidized by the Ministry of Education, Science and Technological Development of the Republic of Serbia, and Ministry of Culture and Information of the Republic of Serbia

Models and Analysis of Vocal Emissions for Biomedical Applications

The MAVEBA Workshop proceedings, held on a biannual basis, collect the scientific papers presented both as oral and poster contributions, during the conference. The main subjects are: development of theoretical and mechanical models as an aid to the study of main phonatory dysfunctions, as well as the biomedical engineering methods for the analysis of voice signals and images, as a support to clinical diagnosis and classification of vocal pathologies

Music in Evolution and Evolution in Music

Music in Evolution and Evolution in Music by Steven Jan is a comprehensive account of the relationships between evolutionary theory and music. Examining the ‘evolutionary algorithm’ that drives biological and musical-cultural evolution, the book provides a distinctive commentary on how musicality and music can shed light on our understanding of Darwin’s famous theory, and vice-versa. Comprised of seven chapters, with several musical examples, figures and definitions of terms, this original and accessible book is a valuable resource for anyone interested in the relationships between music and evolutionary thought. Jan guides the reader through key evolutionary ideas and the development of human musicality, before exploring cultural evolution, evolutionary ideas in musical scholarship, animal vocalisations, music generated through technology, and the nature of consciousness as an evolutionary phenomenon. A unique examination of how evolutionary thought intersects with music, Music in Evolution and Evolution in Music is essential to our understanding of how and why music arose in our species and why it is such a significant presence in our lives

Aerospace Medicine and Biology: A continuing bibliography with indexes (supplement 245)

This bibliography lists 363 reports, articles and other documents introduced into the NASA scientific and technical information system in April 1983

Collaborating with the Behaving Machine: simple adaptive dynamical systems for generative and interactive music

Situated at the intersection of interactive computer music and generative art, this thesis is inspired by research in Artificial Life and Autonomous Robotics and applies some of the principles and methods of these fields in a practical music context. As such the project points toward a paradigm for computer music research and performance which comple- ments current mainstream approaches and develops upon existing creative applications of Artificial Life research. Many artists have adopted engineering techniques from the field of Artificial Life research as they seem to support a richer interactive experience with computers than is often achieved in digital interactive art. Moreover, the low level aspects of life which the research programme aims to model are often evident in these artistic appropriations in the form of bizarre and abstract but curiously familiar digital forms that somehow, despite their silicon make-up, appear to accord with biological convention. The initial aesthetic motivation for this project was very personal and stemmed from interests in adaptive systems and improvisation and a desire to unite the two. In sim- ple terms, I wanted to invite these synthetic critters up on stage and play with them. There has been some similar research in the musical domain, but this has focused on a very small selection of specific models and techniques which have been predominantly applied as compositional tools rather than for use in live generative music. This thesis considers the advantages of the Alife approach for contemporary computer musicians and offers specific examples of simple adaptive systems as components for both compo- sitional and performance tools. These models have been implemented in a range of generative and interactive works which are described here. These include generative sound installations, interactive instal- lations and a performance system for collaborative man-machine improvisation. Public response at exhibitions and concerts suggests that the approach taken here holds much promise