Emergentism and musicology: an alternative perspective to the understanding of dissonance.

In this paper we develop an approach to musicology within the discussion of emergentism. First of all, we claim that some theories of musicology could be insufficient in describing and explaining musical phenomena when emergent properties are not taken into account. Actually, musicology usually considers just syntactical elements, structures and processes and puts only a little emphasis, if any, over perceptual aspects of human hearing. On the other hand, recent research efforts are currently being directed towards an understanding of the emergent properties of auditory perception, especially in fields such as cognitive science. Such research leads to other views concerning old issues in musicology and could create a fruitful approach, filling the gap between musicology and auditory perception

A flexibilização da lógica em direção a uma melhor modelagem da mente pela IA.

The multidimensional logic is a paraconsistent logic modelling suitable for the human features’ simulations involving contradiction. This paper briefly present how AI (artificial intelligence) can make its logic procedures more flexible by multidimensional logic. The analysis of this logic modelling raise fundamental problems involving human mind’s models, as the evaluation of truthfulness of logic premises. In this sense, alternative ways are pointed through the establishment of motivated rather than arbitrary relations between premises used in logic and something that are represented by them. We claim that motivated relations could be an interesting way toward a most satisfactory AI model of human mind, instead just a simulation of it

El computacionalismo clásico y el modelo de una mente creativa en composición musical

En este trabajo son presentados algunos de los principales motivos responsables del éxito parcial y no generalizado del uso de la Inteligencia Artificial concebida dentro del paradigma del Cognitivismo Clásico para la generación de una mente musical creativa. Tras una breve introducción a la IA por medio de la Máquina de Turing, son introducidas cuestiones respecto al mecanicismo, funcionalismo y representaciones mentales. Después es estudiada la relación de la IA con la composición musical por medio de algoritmos, del uso de modelos musicales consolidados y sus limitaciones, del uso de reglas positivas y negativas como diferencial entre IA y humanos, de la dificultad de concebir un algoritmo que pueda crear reglas composicionales, y de la arbitrariedad implícita en la asociación entre parámetros algorítmicos y resultados sonoros. Los principales problemas detectados se refieren: 1. al enfoque no del todo correcto del dualismo semántico-sintáctico, que para ser superado debe incluir la dimensión histórico-contextual juntamente con la sintaxis. Lo que existe sumado a la sintáctica, y que no es semántico, es justamente la diferencia significativa que poseen con respecto a otras soluciones, sean del pasado o contemporáneas, determinadas soluciones obtenidas por medio de reglas negativas. 2. a la oposición entre representación y no representación. La representación en general se confunde frecuentemente con el caso particular de la representación simbólica. Sin embargo hay otros tipos de representación que son pertinentes, principalmente para la construcción del pensamiento musical, y que no son considerados. Tener en cuenta estos otros tipos de representación es importante para la superación de este debate más dogmático que pragmático entre representación y no representación. 3. a las estrategias de elección, fundamentales en el proceso de composición, que no son efectivamente realizadas por la IA. En general resultan de relaciones arbitrarias realizadas por el programador-compositor que ya traen en si valores estético-musicales. Esta arbitrariedad debería ser superada para que el propio algoritmo pueda ser él mismo un creador. El ejemplo del Roboser, mencionado en el texto, ilustra como aquello que es visto aparentemente como un compositor robot es, en realidad, un intérprete mecánico

Paisagem Sonora: uma proposta de análise

This paper discuss the use of environmental sounds in musical composition, specially in the so-called Soundscape music. The use of such sounds in compositions created with technological support after the 60’s have started a controversial discussion on the musical syntax that such sounds can generate. The environmental sounds also raised important debates related to theories of auditory perception. Related to this point we present the processes of listening based on the ecological approach to auditory perception, which comes from J. J. Gibson’s theory of direct perception. This theory is taken as base to a new approach to environmental sonic materials and its insertion in the compositional processes. Our goal is to raise the issues that had lead to all those problems, and to briefly expose the theory of direct perception of J.J. Gibson as well. We conclude showing a possibility to use the notions of the ecological approach to perception as alternative analytic tools for soundscape music

Une étude inter-langue d'un phénomène d'illusion dans la communication verbale (le cas de l'épenthèse vocalique)

L'épenthèse perceptive est la perception illusoire d'une voyelle inexistante dans le stimulus sonore. Dans ce travail nous étudions ce phénomène en portugais brésilien, européen et en japonais. Notre objectif initial est de mettre en évidence ce phénomène chez des locuteurs de chacune des langues précédentes. Ensuite, nous affinerons notre étude avec des sujets monolingues et bilingues, brésiliens et japonais. Nos analyses prouvent que l'épenthèse perceptuelle est présente chez les locuteurs du japonais et du portugais brésilien mais pas chez les locuteurs du portugais européen. Ces résultats nous permettent d'affirmer que l'épenthèse perceptuelle est un phénomène phonétique et non le résultat des propriétés orthographiques, lexicales ou grammaticales de la langue. De plus, l'étude des sujets bilingues permet des conclusions concernant la plasticité : la langue la plus utilisé a plus d'influence sur la voyelle épenthétique perçue que la langue maternelle.Perceptual epenthesis is the illusory perception of a vowel absent of the speech stream. In this work, we study this phenomenon with speakers from Brazilian Portuguese, European Portuguese and Japanese. Our main purpose is to collect evidence of this phenomenon with speakers of each of the preceding languages. We then refine our analysis distinguishing between monolingual and bilingual subjects of Brazilian Portuguese and Japanese. We show that Brazilian Portuguese and Japanese speakers exhibit perceptual epenthesis whereas European Portuguese speakers do not. These results allow us to conclude that perceptual epenthesis is a phonetically based phenomenon that is not the result of orthographic, lexical or grammatical properties of the language. Moreover, as regards plasticity issues, the study of bilingual subjects show that the language used most often influences the choice of the epenthtic vowel more than the maternal tongue.PARIS3-BU (751052102) / SudocSudocFranceF

Vibrafone: uma fonte de coloridos sonoros Vibraphone: a source of sounding colors

O artigo aborda questões práticas relativas à performance musical no vibrafone. Conceitos técnicos para a execução do repertório destinado a esse instrumento, geralmente transmitidos via tradição oral, são aqui ilustrados e formalizados afim de estabelecer um critério mínimo na bibliografia especializada em performance musical. Para isso são utilizados exemplos musicais extraídos de obras consagradas no cenário musical contemporâneo. Este trabalho poderá servir como ferramenta para o desenvolvimento pedagógico e artístico de percussionistas e compositores.<br>This article poses practical questions about musical performance on the vibraphone. Technical concepts for the vibraphone's repertoire, traditionally transmitted orally, are illustrated and formalized into a minimal criterion that can be integrated into the specialized musical performance bibliography. To this end, musical excerpts from standard works in the contemporary music scene are utilized. This work aims to contribute to the existing body of knowledge by providing a pedagogical and artistic developmental tool for composers and musicians