10,715 research outputs found

    Informationsgehalt der Musik und Dramaturgie in 'The Truman Show'

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    Ich möchte mich in der Analyse der Musik in 'The Truman Show' auf das Zusammenspiel von Dramaturgie und Musik konzentrieren. Im Zentrum steht die Frage, welche Informationen - wenn überhaupt - der Film über die Musik vermittelt, an welchen Stellen und in welchen Funktionen Musik nicht bloß als Untermalung und Verstärkung von Emotion eingesetzt wird, sondern um Inhalte des Films zu transportieren. Dabei komme ich nicht umhin, meine eigene Lesart des Films einzubringen. Am Anfang stehen bei einem mehr als zehn Jahre alten Film, der allgemein als 'Medienkritik' interpretiert wird, die Erinnerung an die Jahre, in denen der Film produziert wurde

    Wackenroder and the Doctrine of the Soul

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    Advances a novel theory of how paradoxes evident in Wilhelm Heinrich Wackenroder's essay on instrumental music evoke specific religious dichotomies and that these in turn propose an aesthetic interpretation of autonomous instrumental music concordant with the importance attached to religion in early German Romantic thought

    Remedy or disease? : Romantic perspectives on music

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    Around 1800, aesthetic debate suddenly places music at the very top in the hierarchy of the arts, even superseding poetry: This has become a commonplace not only in scholarly discourse. The protagonists of this re-arrangement of the artistic disciplines are Wilhelm Heinrich Wackenroder, E.T.A. Hoffmann and Ludwig Tieck. In their programmatic texts, they state that music is to be free and absolute and stress its metaphysical quality and its close relation to the supernatural. Furthermore, music is supposed to be no longer dependent on the other arts, and music releases the listener or the musician from prosaic everyday life. As Wackenroder writes in Die Wunder der Tonkunst, […] [a]ll sickening thoughts which, according to Wackenroder, are the illness of mankind vanish with a piece of music, making our mind sane again. Literary romanticism here recurs to a long tradition that reaches back to the classical ages in Greece and Arabia: Music is used as a remedy for curing illnesses of various kinds. In classical antiquity, Apollo is the god of music, poetry and dancing as well as the god of healing. He was also named “Iatros” (physician) or Apollo Medicus. […] Orpheus as a bard and demigod was also said to be capable of curing diseases by means of his music. […] Thus, music in history is part of treating physical illness on the one hand, but on the other hand is more and more considered to provide a remedy especially for mental deficiencies. Music is meant to improve nervous disorders and sometimes it is even prescribed as a regular medicine. As we will see in Hoffmann’s text Die Genesung, there is a connection between the ritual healing processes in the temples of Aesculapius and the setting of the forest in which the old man regains his health

    Montage : eine Bibliographie

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    Kompiliert von Hans J. Wulff Inhalt: 1. Montage 2. Montageexperiment

    Sprache – Musik – Bild: Zeichentypen und ihre Konsequenzen

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    Die drei Bereiche, die hier verglichen werden sollen, entsprechen in etwa der überkommenen Trias von Literatur, Musik und bildender Kunst, einer Gliederung, die im Medienzeitalters mit Videos, CDs, Installationen oder Happenings eigentlich obsolet ist. Allerdings geht es hier nur um die Eigenart der Zeichensysteme, auf denen die verschiedenen Bereiche beruhen, nicht um die Werke, die dadurch möglich werden, obgleich natürlich auch die Kunstwerke im emphatischen Sinn, die bedeutenden und die banalen, die großen und die misslungenen Gestaltungen nur möglich und verstehbar sind aufgrund der Zeichen, auf denen sie beruhen.Characteristic similarities and differences of language, music, and visual art are shown to depend to a large extent on the types of sign systems they rely on. Two major aspects of signs are explored: the nature of their physical signal and the relation between the signal and its meaning, characterized in terms of Peirce’s concept of iconic and symbolic signs. Language, music and pictures are all based on the possibility to combine constituent parts into signs of unlimited complexity. Their compositional principles are radically different, though. Physical signals of language and music are basically acoustic, time-dependent, and linear, while signals of pictures is visual, two-dimensional, and permanent

    Emotional Prosody Measurement (EPM): A voice-based evaluation method for psychological therapy effectiveness

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    The voice embodies three sources of information: speech, the identity, and the emotional state of the speaker (i.e., emotional prosody). The latter feature is resembled by the variability of the F0 (also named fundamental frequency of pitch) (SD F0). To extract this feature, Emotional Prosody Measurement (EPM) was developed, which consists of 1) speech recording, 2) removal of speckle noise, 3) a Fourier Transform to extract the F0-signal, and 4) the determination of SD F0. After a pilot study in which six participants mimicked emotions by their voice, the core experiment was conducted to see whether EPM is successful. Twenty-five patients suffering from a panic disorder with agoraphobia participated. Two methods (storytelling and reliving) were used to trigger anxiety and were compared with comparable but more relaxed conditions. This resulted in a unique database of speech samples that was used to compare the EPM with the Subjective Unit of Distress to validate it as measure for anxiety/stress. The experimental manipulation of anxiety proved to be successful and EPM proved to be a successful evaluation method for psychological therapy effectiveness

    Ă„sthetische Erfahrung und Quasi-GefĂĽhle

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    Vor etwa einem Jahrhundert entwickelte sich im deutschsprachigen Raum imRahmen einer allgemeinen Charakterisierung unserer ästhetischen Erfahrungvon Kunst eine umfassende Debatte über die Natur und die Möglichkeit vonGefühlen über fiktionale Charaktere und Situationen. Die damalige Debatteweist große Ähnlichkeit zur heutigen analytischen Debatte über das Paradoxonder Fiktion auf. Trotz des unterschiedlichen jeweiligen historischen Kontextesfindet sich in der analytischen Debatte und in der Philosophie zu Beginn des20. Jahrhunderts fast der gleiche Lösungsansatz. Gefühle über Fiktionen seienQuasi-Gefühle, d.h. ein gefühlsartiges Phänomen mit einer Realität sui generis ,dem im Unterschied zu den wirklichen Gefühlen kein Urteil über die Existenzdes Objektes zugrunde liegt und dem die Verbindung zur Motivation fehlt. Zieldieses Aufsatzes ist es, eine Untersuchung der These der Quasi-Gefühle An-fang des 20. Jahrhunderts zu unternehmen sowie die Analogien zur heutigenDebatte zu zeigen. Der Aufsatz baut sich um drei thematische Achsen herumauf. Zunächst wird eine historische Darstellung der These der Gefühle über Fiktionen bei Groos, Lipps, Lange, Geiger und Külpe unternommen. Diese bil-det den Rahmen für die Debatte über die Quasi-Gefühle in der Grazer Schule.Anschließend wird die Aufmerksamkeit auf die Diskussion über Quasi-Gefühle bei Meinong, Witasek, Saxinger und Schwarz gerichtet. Zuletzt wer-den die Berührungspunkte zur heutigen analytischen Debatte im Ausgang vonsystematischen Fragen aufgezeigt

    Empathic Agent Technology (EAT)

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    A new view on empathic agents is introduced, named: Empathic Agent Technology (EAT). It incorporates a speech analysis, which provides an indication for the amount of tension present in people. It is founded on an indirect physiological measure for the amount of experienced stress, defined as the variability of the fundamental frequency of the human voice. A thorough review of literature is provided on which the EAT is founded. In addition, the complete processing line of this measure is introduced. Hence, the first generally applicable, completely automated technique is introduced that enables the development of truly empathic agents

    Psychobiological mechanisms underlying the stress-reducing effects of music listening in daily life

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    Stress is a threat to health with an increasing number of reports indicating that stress is ubiquitous in daily life. Therefore, interventions targeting stress in daily life are essential. Music listening might be one of them, as people have always been using music intuitively for health-beneficial effects. Although evidence from lab-based experimental studies suggests that music listening is, indeed, associated with health-beneficial effects, yet we do not know how effective music is and which underlying mechanisms are responsible for its beneficial effects. Particularly as music listening is a popular activity of daily life, there lies a great potential in revealing mechanisms underlying the positive impact of music listening on stress reduction directly in daily life. This thesis aims at investigating the stress-reducing effect of music listening in daily life. Thus, it is examined what is stress-reducing about music listening in daily life and which mechanisms are underlying these effects. A framework which suggests health-beneficial effects of music listening being mediated by a reduction in psychobiological stress (as measured by subjective stress levels, secretion of salivary cortisol and activity of alpha-amylase) is postulated. This thesis comprises six successive papers. The first paper is methodological in nature and provides a protocol for assessing the effects of music listening on psychobiological stress in daily life. In the second paper, mechanisms underlying the stress-reducing effect of music listening are investigated with regard to characteristics of the music (e.g., valence and arousal of the music) and characteristics of the situation (e.g., appraisal of situation as stressful, reasons for music listening). In the third paper, it is tested whether the stress-reducing effect of music listening varies depending on social characteristics of the listening situation (here: presence of others while listening to music). The aim of the fourth paper is to further investigate the role of social characteristics of the listening situation by investigating the stress-reducing effect of music listening in a dyadic context examining couples in their daily life. The fifth paper investigates a clinical sample, namely female patients with fibromyalgia syndrome – a chronic pain condition. It is tested whether pain-reducing effects of music listening are mediated by a reduction in psychobiological stress. In a follow-up analysis, paper six examines whether characteristics of the person account for inter-individual differences in the ability to benefit from music listening for stress reduction purposes. All studies consistently indicate that music listening, per se, has limited or even no stress-reducing effects. Rather, characteristics of the music (here: perceived arousal of the music), characteristics of the situation (here: reasons for music listening, presence of others, interaction with romantic partner, appraisal of situation as stressful), and characteristics of the person (here: habitual experience of music-induced chills) contribute to the nature of the stress-reducing effect of music listening. In a patient population, the health-beneficial effect of music listening is not mediated by a reduction in psychobiological stress. However, in this patient population characteristics of the person account for inter-individual differences in the stress-reducing effect of music listening. Concerning underlying mechanisms, music listening differentially affects stress-sensitive systems in the body. All studies provide evidence that music listening in daily life is associated with stress-reducing effects depending on characteristics of the music, the situation, and the person. Underlying mechanisms are closely linked to music’s ability to modulate activity in the hypothalamic-pituitary-adrenal (HPA) axis and the autonomic nervous system (ANS). Interestingly, music listening differentially affects these stress-sensitive systems in the body. It seems that different stages of music processing in the brain affect different stress-sensitive systems in the body. Thus, characteristics of the music affect ANS activity, whereas characteristics of the situation influence HPA axis activity. Furthermore, a complex interplay among characteristics of the music, the situation, and the person are observed when examining health-beneficial effects of music listening. Consequently, a one-size-fits-all approach is not favorable when implementing music for stress reduction purposes. Furthermore, a multi-dimensional approach assessing underlying mechanisms is warranted as music listening differentially affects HPA axis and ANS activity
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