5/1/2023 0 Comments Relax melodies motion sensorHe was a visiting scholar at the Center for Computer Music and Research (CCRMA) at Stanford University 2005-6. He published several books and papers about these topics. His major fields of research are Musical Acoustics and Musical Signal Processing, Musical Hardware and Software Development, Music Ethnology, Music Psychology, and Philosophy of Music. He is Professor for Systematic Musicology at the Institute of Systematic Musicology, University of Hamburg since 2007. Rolf Bader studied Systematic Musicology, Physics, Ethnology, and Historic Musicology at the University of Hamburg where he obtained his PhD and Habilitation. Two examples are presented, that of a metamaterial drum allowing varying articulation as a mixture of a band-gap and a regular spectrum, and a room acoustic example of a metamaterial wall showing broad-band, high-efficient, and low-frequency sound absorption for sonically designing concert spaces or recording rooms. As acoustic metamaterials are characterized by complex geometries rather than complex material, suitable designs can be built by instrument builders or musicologists easily. Therefore, arbitrary sonic designs are possible. Building musical instruments with metamaterials allows constructing bodies of guitars, violins, or pianos, or the design of percussion or wind instruments with complex absorption spectra consisting of freely designable band-gap structures. having negative stiffness, negative Young's Modulus, or negative refraction index, showing cloaking or extreme damping. Bader, Rolf: Acoustic Metamaterials for Sonically Designing Musical Instruments and Room AcousticsĪcoustic Metamaterials have properties not found in natural materials like wood or metals, e.g. During 2008-13 Aksnes led the NRC FRIHUM project “Music, Motion, and Emotion: Theoretical and Psychological Implications of Musical Embodiment” (MME), where her own subproject focused on GIM therapy, in collaboration with the GIM therapist Svein Fuglestad. Her research focuses especially on problems related to musical meaning, music analysis, Norwegian music history, cognitive semantics, and GIM therapy. In addition to musicology, she has a background in medicine (preclinical studies) and comparative literature from the University of Oslo, as well as philosophy studies with Mark Johnson and Maxine Sheets-Johnstone at the University of Oregon. Hallgjerd Aksnes is Professor of musicology at the University of Oslo. from tip to frog movements in the strings in the crescendos)” (Godøy & Leman 2010: 104-105) reflect the vitality affect surging (Stern 1985: 54), with the richness of emotive meanings conveyed by this musical gesture. Godøy’s example of “the fast back-and-forth hand movements of applying the shaving cream to the client’s face”, reflects the sense of urgency created by the corresponding flurry of notes in the music and the later “protracted upward shaving gestures with the razor similar to sustained crescendo sounds (probably up-bow, i.e. 5, exemplified by Charlie Chaplin in the barber scene from The Great Dictator, might thus be complemented by the emotive meanings and vitality affects the music also affords. Godøy’s analysis of gestural affordances in Brahms’ Hungarian Dance No. Langer’s notion of forms of feeling (1953) and Daniel Stern’s notion of vitality affects (1985). The paper also focuses on associations between music, motion, and emotion, understood in terms of Susanne K. An analogous distinction has been made by Martin Heidegger (1927), who distinguishes between “cognition” (Erkennen) and “dealing with” (Umgang), for which Hubert Dreyfus (1991) introduces the analogous terms “representational intentionality” and “absorbed intentionality. This paper points out that there are inherent tensions between the notions of sonic objects and motor-mimetic cognition, as sonic objects are grasped by means of explicit memory, whereas motor-mimetic cognition belongs to the domain of implicit (procedural) memory, which resists objectification. During the past decades, Godøy and followers have focused increasingly on links between music and body motion (Godøy & Leman 2010 Godøy 2021 Jensenius 2009 Jensenius & Erdem 2022). Gibson (1979), embodied cognition, and the motor theory of perception. 1984, 2006, 2010, 2018, 2021), which draws upon an interdisciplinary array of sources including Edmund Husserl (1917), Pierre Schaeffer (1967-77), gestalt theory, James J. The notions of sonic objects and motor-mimetic cognition play a central role in Rolf Inge Godøy’s work (e.g. Aksnes, Hallgjerd: Sonic Objects and Motor-mimetic Cognition: Insights, Tensions, and Emotive Affordances
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