Die Bedeutung zeitlicher Strukturen für die musikalische Entwicklung

Eine der schwierigsten Fragen bezüglich der musikalischen Entwicklung des Kindes betrifft zweifellos die Besonderheit des musikalischen Phänomens im allgemeinen, nämlich seine Erscheinungsweise in der Zeit. Diese unterwirft das Individuum bestimmten kognitiven Zwängen, die in Bezug stehen zur Struktur der Klangstimuli. Letztere können aufgrund ihres Ablaufs in der Zeit als zusammenhängende Ganze nur auf dem Weg über komplexe mentale Prozesse erfaßt werden, die Systeme von Schemata ins Spiel bringen, welche mit den Strukturen einer "operativen Zeit" (im Sinne Piagets) verbunden sind. Diese letztere begründet sich auf das Ineinandergreifen von Dauern- und Ordnungsbeziehungen, die die Zustandsveränderungen des klingenden Ganzen koordinieren. In dieser Hinsicht stellen sich in der Musik Probleme, die verschieden von jenen sind, denen Psychologen und Pädagogen im Bereich der visuellen Künste begegnen. (DIPF/Orig.

No Longer ‘Somewhat Arbitrary’:Calculating Salience in GTTM-Style Reduction

Following earlier work on the formalisation of Lerdahl and Jackendoff’s Generative Theory of Tonal Music (GTTM), we present a measure of the salience of events in a reduction tree, based on calculations relating the duration of time-spans to the structure of the tree. This allows for the proper graphical rendition of a tree on the basis of its time-spans and topology alone. It also has the potential to contribute to the development of sophisticated digital library systems able to operate on music in a musically intelligent manner. We present results of an empirical study of branch heights in the figures in GTTM which shows that salience calculated according to our proposals correlates better with branch height than alternatives. We also discuss the possible musical significance of this measure of salience. Finally we compare some results using salience in the calculation of melodic similarity on the basis of reduction trees to earlier results using time-span. While the correlation between these measures and human ratings of the similarity of the melodies is poor, using salience shows a definite improvement. Overall, the results suggest that the proposed definition of salience gives a potentially useful measure of an event’s importance in a musical structure

Burkholderia cenocepacia BC2L-C Is a Super Lectin with Dual Specificity and Proinflammatory Activity

Lectins and adhesins are involved in bacterial adhesion to host tissues and mucus during early steps of infection. We report the characterization of BC2L-C, a soluble lectin from the opportunistic pathogen Burkholderia cenocepacia, which has two distinct domains with unique specificities and biological activities. The N-terminal domain is a novel TNF-α-like fucose-binding lectin, while the C-terminal part is similar to a superfamily of calcium-dependent bacterial lectins. The C-terminal domain displays specificity for mannose and l-glycero-d-manno-heptose. BC2L-C is therefore a superlectin that binds independently to mannose/heptose glycoconjugates and fucosylated human histo-blood group epitopes. The apo form of the C-terminal domain crystallized as a dimer, and calcium and mannose could be docked in the binding site. The whole lectin is hexameric and the overall structure, determined by electron microscopy and small angle X-ray scattering, reveals a flexible arrangement of three mannose/heptose-specific dimers flanked by two fucose-specific TNF-α-like trimers. We propose that BC2L-C binds to the bacterial surface in a mannose/heptose-dependent manner via the C-terminal domain. The TNF-α-like domain triggers IL-8 production in cultured airway epithelial cells in a carbohydrate-independent manner, and is therefore proposed to play a role in the dysregulated proinflammatory response observed in B. cenocepacia lung infections. The unique architecture of this newly recognized superlectin correlates with multiple functions including bacterial cell cross-linking, adhesion to human epithelia, and stimulation of inflammation

Fantasmes du temps et de la mort en psychanalyse de la musique

Imberty Michel. Fantasmes du temps et de la mort en psychanalyse de la musique. In: Bulletin de psychologie, tome 31 n°336, 1978. L'interprétation psychanalytique des oeuvres. pp. 747-758

Structure perceptive du style musical

Imberty Michel. Structure perceptive du style musical. In: Bulletin de psychologie, tome 30 n°329, 1977. Nouvelles perspectives en psychologie de l'art. pp. 781-791

Langage, musique et cognition : quelques remarques sur l’évolution nécessaire des problématiques psychologiques des vingt dernières années

L’application par Lerdahl et Jackendoff du modèle linguistique génératif de Chomsky à la musique tonale bute sur le postulat de l’innéité des compétences et pose le problème crucial de sa propre généralisation à toute musique. Le cognitivisme neurophysiologique propose des éléments de solution à travers le modèle de la modularité notamment, mais la dichotomie fodorienne entre périphérie et niveau central ne tient pas à l’observation des faits complexes.De manière générale, il convient de substituer à une ontologie des objets celle des événements.L’auteur montre comment, dans ses propres travaux, il est parti d’une réactivation de la notion piagétienne de « grammaire d’enfants » pour proposer une « grammaire musicale évolutive »; ce modèle engendre des structures dynamiques, globales, orientées temporellement, qui sont antérieures aux notions d’intervalles de hauteur et de durée — déplaçant ainsi les apories du cognitivisme précédemment décrites et fournissant un substrat à toute approche de la musique intégrant prioritairement sa qualité temporelle.When Lerdahl and Jackendorf apply Chomsky's generative linguistic model to tonal music, they are led to the postulate that musical competence is innate; this leads immediately to the problem of the generalization of this theory to all music. Neuro-physiological cognitivism offers part of the solution, notably in the form of the theory of modularity, but Fodor's dichotomy between central processes and modules is not born out through the observation of complex facts.In general, an ontology of events must replace an ontology of objects. The author shows how in his own research, Piaget's notion of "infant grammar" is resuscitated, through the introduction of the notion of an "evolving musical grammar". This model generates dynamic, global structures which have a temporal orientation and which are anterior to the notions of interval, pitch or duration. It thereby avoids the contradictions of the aforementioned cognitivism, and supplies the foundations of any approach to music which emphasizes its temporal quality

Évolution des stratégies d'élaboration du projet musical et de sa réalisation dans l'apprentissage du violon

NANTERRE-BU PARIS10 (920502102) / SudocSudocFranceF