Perception, time and music analysis
Subtitle: an introduction to analytic-generative methodology
By: by Timo Laiho
Series: Studia musicologica Universitatis Helsingiensis -- volume 23; Studia musicologica Universitatis Helsingiensis -- 23.
Publisher: University of Helsinki, Department of Philosophy, History, Culture and Art Studies, Musicology
Published: 2013
Place of publication: Helsinki
Language: eng
Number of pages: 231
ISBN-13: 9789521087158
Subjects: Musical analysis; Music; Semiotics; Philosophy and aesthetics
Notes: University publication.

Thesis (doctoral) - University, Helsinki, 2013.

Includes bibliographical references.
Table of contents: title: Abstract; title: Preface and acknowledgements; title: Part one: Towards the preconditions of musical cognition and analysis : Preliminary issues : Introductory remark ; Music analysis and musical perception. What is the role of perception in music analysis? ; Objective vs. subjective knowledge of musical experience ; Positivistic influence as a scientific ideal in music theory and analysis ; Relationships between music theory, analysis and perception; title: What is analysis? : Some general definitions ; Adorno's insights of analysis ; Adorno's truth content: analysis as cognition and "becoming" ; Towards an analysis of "becoming" ; Introduction of the analytic concept of musical vector (muV) ; Analysis ♯1: musical vectors and the counter-subject's directionality in Mahler's fourth symphony ; Summary of chapters 1-2; title: Perception, sensation and cognition: the structural organization of cognitive processing : Perception vs. sensation ; The problem of high- and low-level processing of perceptual systems ; The critiques against the computational modelling of cognition : Gödel's theorems and the non-computability of consciousness ; Computation and the structural features of formal languages : Searle's critique ; The problem of initial conditions; title: The generative/reductive principles of top-down and bottom-up processing : The top-down organization and introduction of the principle of "higher-order" reduction (R2) ; The generative/reductive principles of bottom-up processing; title: Conclusions; title: Formality of fusic analysis: examples of prolongation and segmentation : The concept of prolongation : General structural principles ; Prolongation in atonal context; title: The problem of segmentation; title: Non-conceptuality and sensation: the principles of differentiation : Non-conceptual mental content ; Priority of sensation? ; Analysis ♯2: differentiation and the principles of visual grouping; title: Cognitive model: the foundations of sub-semiotic analysis : Overview ; Re(De)constructing the sign structure : Saussure and the concept of the linguistic sign ; Peirce's tripartition ; Icon-index-symbol: towards peircean dynamism : Symbol; title: the level of thirdness ; Icon; title: the level of firstness ; Index; title: the level of secondness; title: Cognitive model and differentiation as a basis of sub-semiotic analysis : Relation to peircean sign-theory ; Diffferentiation as diacritics and différance ; Analysis ♯3: differentiation and contextuality in Schoenberg's "opening" of Op. 19 ; Generalized principles; title: Part two: the methodology of AGM: analytic concepts and musical examples : Analytic concepts and the theoretical framework : Classification of analytic concepts ; Differentiation as movement: interval-time-complex (intiC) : Analysis ♯4 and ♯5: the structural principles of pitch perception and the formation of harmonic spectrum ; Analysis ♯6 and ♯7: examples of the analytical concept of intiC; title: Analyses ♯8 and ♯9: examples of the analytical concept of muV : Two further considerations related to the analytical concepts of intiC and muV; title: A summary of the principles of differenciation in relation to the Milieu and territorial structures; title: analysis ♯10; title: Conclusions.