Proceedings of the Worldwide Music Conference 2021

Volume 2
1. Auflage 2021
ISBN: 978-3-030-85885-8
Verlag: Springer International Publishing

Buch, Englisch, Band 9, 107 Seiten, HC runder Rücken kaschiert, Format (B × H): 160 mm x 241 mm, Gewicht: 348 g

Reihe: Current Research in Systematic Musicology

This book continues the line of publications of the first book in a highly interdisciplinary mode. This time, we offer eight chapters that provide the in-depth study of music in four large sub-fields: mathematics, language and theory of narrative, evolution and perception, and, finally, sociology. The first chapter, by Dr. Roman Ruditsa, delves into the study of structural pitch organization. It is based upon mathematical interpretation of the idea of pitch provided by North American proponents of group theory synthesized naturally with the ideas of Russian theorists Tatiana Bershadskaya. Noteworthy is the term conjugacy that harkens back to Boleslav Yavorski’s concept. The second chapter, in the same mathematical venue, by Celina Richter and Stefan E. Schmidt, revisits the millennial question of the essence of an interval. Using highly advanced mathematical language, the categories of monoid, and the algebraic theory of measurement, the authors take further the concepts of transformational theory and chord geometry of Dmitri Tymoczko. The next block is dedicated to language and narrative; the first chapter in it is by Vincent Meelberg. Here, the reader finds fascinating developments in the ongoing deliberations on this elusive category. The author refers to the texts of Almén, Huron, Gershon, and Sternberg. An interesting conclusion introduces the ideas of tension and resolution into the definition of the musical narrative. The name of Trevor Rawbone, perhaps, does not need an introduction to those involved with cognitive studies of music. This time, his chapter deals with the idea of the language of musical thought, which shifts the traditional discussion of language into a very new dimension. The references include all the accolade of the major cognitivists. Both the chosen direction and the elaboration on it make this chapter really worth reading. Carlos Almada begins a new section in the book, the one dedicated to evolution and perception. He begins with Darwin and takes us through the exciting path of devel

Zielgruppe

Research

Autoren/Hrsg.

Ruditsa, Roman

Khannanov, Ildar D.

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein

Über Autor(innen)

Ildar D. Khannanovis Assistant Professor of music theory at Peabody Institute, Johns Hopkins University in Baltimore, USA. He is also Vice-Chair of the Scientific Committee of the Russian Society for Music Theory (OTM) and Member of EuroT@AM—Scientific Committee of the European Music Analysis Congress (EUROMAC). In such position, Dr. Khannanov participated in organization of four congresses of the Russian Society for Music Theory, and currently, he is Vice-Chair of organizing committee of EUROMAC10. Dr. Khannanov is a student of Dr. Yuri Kholopov and Dr. Pieter C. Van den Toorn. He studied philosophy with Professor Jacques Derrida at UC Irvine. Dr. Khannanov has published his research in the areas of postmodernist philosophy of music, musical semiotics, methodology of analysis of musical work, teaching of form, harmony, and folk music. He participated in more than 100 international conferences and published books and articles in English and Russian languages. 

Roman Ruditsa is Composer, Music Theorist, Inventor, and Pianist. In 1995, he graduated from the Rimsky-Korsakov Saint Petersburg State Conservatory. He had an assistantship in the composition class of Prof. S. Slonimsky and a Ph.D. program in the musical analysis class of Dr. E. Ruchievskaya. He also studied piano and harpsichord in the class of E. Seredinskaya. Roman Ruditsa is Member of the St. Petersburg Union of Composers. He is Author of cantatas, chamber, and orchestra music. His musicological works are devoted to questions of analysis, harmony, and counterpoint. As a performing artist, his interests lie in the field of historical performance. With Andrey Bayadzhan, he invented The Musical Notation Keyboard that is patented by the US Patent and Trademark Office. Roman Ruditsa is Founder of D Notation company, which aims to create a perfect digital note typing tool, and the Worldwide Music Conference (WWMC).