Hegel’s Conceptual Group Action on Creative Dynamics in Music

The present paper presents a mechanism to catalyze that crucial step in a creative process, where the critical concept’s “walls” (referring to the common “box” metaphor) are identified and opened. We propose a concrete, but generic body of six concepts and the action of a group of transformations of this body, a toolbox that should offer a set of operational perspectives onto the critical concept’s walls. The conceptual body and the group action are deduced from the first paragraphs of Georg Wilhelm Friedrich Hegel’s Wissenschaft der Logik. On this body, a group, called the “Hegel group”, acts and reflects some of the relations and operations that are hidden in Hegel’s text. We then identify two technical themes from mathematical music theory, the Escher Theorem and the concept architecture of forms and denotators, as instances of this Hegel action. The Hegel action is applied to understand creative processes in two classical compositions — Beethoven’s Hammerklavier Sonata op. 106, and Liszt’s Mephisto Walzer — but also to the creation of a small model composition.L’azione del gruppo concettuale di Hegel sulle dinamiche creative in musicaIl saggio presenta un meccanismo d’attivazione della fase cruciale di un processo creativo, nella quale, in riferimento alla nota metafora della “scatola”, le “pareti” critiche di un concetto sono individuate e aperte. Proponiamo un concreto, ma generico corpo di sei concetti e l’azione di un gruppo di trasformazioni a esso associate, uno strumento che potrebbe offrire un insieme di prospettive operative per abbattere le pareti critiche del concetto. Il corpo concettuale e l’azione del gruppo di trasformazioni si deducono dai primi paragrafi della Wissenschaft der Logik di Georg Wilhelm Friedrich Hegel. Il gruppo agente sul corpo in esame, denominato “gruppo di Hegel”, riflette alcune delle relazioni e delle operazioni implicite nel testo hegeliano. In seguito, come esempi dell’azione di Hegel, identifichiamo due temi tecnici dalla teoria matematica della musica, il teorema di Escher e il concetto di architettura di forme e denotatori. L’azione di Hegel è poi applicata allo studio dei processi creativi in due composizioni classiche, la Sonata op. 106 Hammerklavier di Beethoven e il Mephisto Walzer di Liszt, ma anche alla creazione di una breve composizione-modello.The present paper presents a mechanism to catalyze that crucial step in a creative process, where the critical concept’s “walls” (referring to the common “box” metaphor) are identified and opened. We propose a concrete, but generic body of six concepts and the action of a group of transformations of this body, a toolbox that should offer a set of operational perspectives onto the critical concept’s walls. The conceptual body and the group action are deduced from the first paragraphs of Georg Wilhelm Friedrich Hegel’s Wissenschaft der Logik. On this body, a group, called the “Hegel group”, acts and reflects some of the relations and operations that are hidden in Hegel’s text. We then identify two technical themes from mathematical music theory, the Escher Theorem and the concept architecture of forms and denotators, as instances of this Hegel action. The Hegel action is applied to understand creative processes in two classical compositions — Beethoven’s Hammerklavier Sonata op. 106, and Liszt’s Mephisto Walzer — but also to the creation of a small model composition.L’azione del gruppo concettuale di Hegel sulle dinamiche creative in musicaIl saggio presenta un meccanismo d’attivazione della fase cruciale di un processo creativo, nella quale, in riferimento alla nota metafora della “scatola”, le “pareti” critiche di un concetto sono individuate e aperte. Proponiamo un concreto, ma generico corpo di sei concetti e l’azione di un gruppo di trasformazioni a esso associate, uno strumento che potrebbe offrire un insieme di prospettive operative per abbattere le pareti critiche del concetto. Il corpo concettuale e l’azione del gruppo di trasformazioni si deducono dai primi paragrafi della Wissenschaft der Logik di Georg Wilhelm Friedrich Hegel. Il gruppo agente sul corpo in esame, denominato “gruppo di Hegel”, riflette alcune delle relazioni e delle operazioni implicite nel testo hegeliano. In seguito, come esempi dell’azione di Hegel, identifichiamo due temi tecnici dalla teoria matematica della musica, il teorema di Escher e il concetto di architettura di forme e denotatori. L’azione di Hegel è poi applicata allo studio dei processi creativi in due composizioni classiche, la Sonata op. 106 Hammerklavier di Beethoven e il Mephisto Walzer di Liszt, ma anche alla creazione di una breve composizione-modello

Revolutionary Pedagogy: A Historical Perspective on Improvising in Beethoven

This dissertation will investigate the historical significance and modern application of Beethoven\u27s improvisations in performance, first by observing what we know through primary sources and eye-witness accounts, then by considering the reasons for the absence of improvisation in modern performance practice and the steps that could be taken towards reincorporating classical improvisation into modern pedagogy, and finally by offering historically-based improvisation exercises and written-out examples of improvisations in Beethoven\u27s works to benefit modern pianists

Computer-aided music education and musical creativity

It has become an absolute necessity to integrate informatics into educational activities as it is in all areas of life by using innovative teaching methods in the globalized world. As in other fields, developing the knowledge and experience of students by using information technologies in music education should be one of the principles of today's education system. Utilizing computer technologies and software applications especially in the areas of music perception in order to promote the creativity and knowledge contributes to an increase in students' positive attitude towards the course by enriching the context of the course. If a complex and difficult topic, such as composing music, which is one of the upper dimensions of creativity, is supported by the computer technologies and software applications, it will obviously help students to understand the process that is very demanding and create a product. In addition, many subjects that are difficult and abstract for everyone to conceive can be made easier by means of the computer technologies and software. When the educational programs developed in recent years are examined, it can be seen that informatics is included in many learning outcomes and activities aiming to improve musical creativity. In this study, detailed information about the effect of computer-aided education on the development of musical creativity is given. Suggestions for future studies are also presented

PECULIARITIES OF DEVELOPMENT OF SENIOR PUPILS’ MUSICAL CREATIVITY USING MUSICAL COMPUTER TECHNOLOGIES (MCT) IN A MUSIC LESSON

The article presents the research results of the project ‘Development of Senior Pupils’ Musical Creativity Using Musical Computer Technologies (MCT)’ (No. MIP-13081), which was carried out by groups of scientists and financed by Science Council of Lithuania. In the introductory part of the article the concept of creativity is presented, the factors influencing it are discussed together with the possibilities of MCT in development of musical creativity. The main part of the article introduces the methodology and the results of the research on the development of senior pupils’ musical creativity using MCT in a music lesson. During the research 20 music lessons conducted by 10 music teachers were observed. The research revealed that the greatest influence on senior pupils’ musical creativity had the experience in application of MCT. Pupils who accumulated some experience were given freedom of creation. Meanwhile education of the ones who did not have it, was planned consequently presenting creative tasks from the simple ones ( f.e. create rhythmic accompaniment) to quite complex tasks (to create a musical composition consisting of several parts). Evaluation criteria in most cases were not named, though in the process of creation pupils were provided with suggestions on how to improve their musical compositions. Most often the Magix Music Maker programme was used for creation. KEY WORDS: musical creativity, musical computer technologies (MCT), music lesson. DOI: http://dx.doi.org/10.15181/atee.v2i0.94

TOWARDS A PHILOSOPHY OF HUMAN TECHNOLOGY: Outlook on cognitive enhancements in Avatar/ Virtual Reality schizophrenia therapy

This article hinges on a complex and interdisciplinary field of study named “Philosophy of Human Technology” in which a first non-exhaustive map of ethical, legal and social, technological issues is presented: Technologies constitute, magnify, amplify human experiences, but can also enslave or put human experience and life at risk for example what concerns the right to a “private Life”. The second part of this paper proposes to think three possible interfaces of the topic of Human Cognitive Enhancement. Firstly the Body-electronic interface such as in the organ-on a chip simulation of an externalized human organ function, secondly the optogenetic and general genetic “editing” interface in which new technologies such as CRISPR/Cas9 open up questions for the future of human beings and our self-determination. Third -and more explicitly- the virtual-immersive interface, exemplified by cognitive enhancement by Avatar schizophrenia therapy and uncanny valley effects of digital body doubles will be introduced. The classic rubber-hand illusion had brought new insights into the plasticity of the body- image and the embodiment of the self, by underlining the strong influence of exteroception for the transformation of the bodily self. We will follow these thoughts on Avatar enhancements in schizophrenia therapy and scrutinize as well research ethical issues. Finally a short outlook on the question of two different types of technological detachment in tension in a Philosophy of Human Technology in which Cognitive Enhancement technologies are subjected to two types of technological detachments a) material/somatic substitution and b) detachment as a topos of independence and autonomy is hinted on

Gesture-based cognitive enhancements by random walks and human digital body doubles

N/

Composing Together: The Development of Musical Ideas with Students and Teachers

Contemporary Canadian pieces are performed and studied infrequently in school music programs due to their complex nature. The Ottawa-Carleton District School Board and the Canadian Music Centre commissioned 18 composers to compose a piece of educational music during a multi-year, multi-site research project entitled Making Music: Composing with Young Musicians. The musical pieces were written in collaboration with teachers and students. The following research question was addressed: How can musical ideas be conceptualized and developed with students and teachers? In their composition reports, the composers emphasized the importance of listening to students. Listening helped the composers understand the types of music students were familiar with, and to discern students’ instrumental abilities. Musical ideas were developed when students worked individually and in groups. Furthermore, composerteacher feedback, as well as teacher facilitation, facilitated a healthy exchange of musical ideas. These findings may be of interest to music teachers, post-secondary music educators, composers, and Canadian music publishers

Enhancing the popular music ensemble workshop and maximising student potential through the integration of creativity

Ensemble work is a key part of any performance-based popular music course and involves students replicating existing music or playing ‘covers’. The creative process in popular music is a collaborative one and the ensemble workshop can be utilised to facilitate active learning and develop musical creativity within a group setting. This is a report on a reflection into the practice of the ensemble workshops within the author’s own further education context. It is proposed that in order to unlock creative potential, develop active group learning and add value to the student, a new approach to pedagogy within ensemble work is required. This approach involves scaffolding learning through the setting of collaborative, creative tasks and provision of a mentoring environment in which students can feel safe to experiment. </jats:p

MOKINIŲ MUZIKINĖS KOMPOZICIJOS VERTINIMAS KONKURSŲ VERTINIMO KOMISIJOS NARIŲ PATIRTIes aspektu

The article aims to analyse the criteria and procedures of assessment of pupils’ musical compositions. The review of the criterion-referenced evaluation of creative works is presented, the methodology of evaluation of the musical creative product and conditions for its application are discussed. The question is whether the criteria of assessment of a musical composition are applied in reality, i.e. during contests while evaluating pupils’ compositions. In order to answer this question the aim of the research was to reveal the experience of jury members in assessment of pupils’ musical compositions. To achieve the aim pursued, in-depth interviews with 5 composers who evaluated pupils’ musical compositions in national and international contests were carried out. The research results presented focus on the criteria of evaluation of musical compositions, on the factors influencing assessment as well as evaluation process itself.KEY WORDS: creative product, musical composition, assessment.DOI: http://dx.doi.org/10.15181/tbb.v79i2.178

TOWARDS A PHILOSOPHY OF HUMAN TECHNOLOGY: OUTLOOK ON COGNITIVE ENHANCEMENTS IN AVATAR/ VIRTUAL REALITY SCHIZOPHRENIA THERAPY

N/