Concert and seminar.
LUNCHTIME CONCERT with PER AAGE BRANDT
- Jazz at the Piano -
THURSDAY, SEPTEMBER 25, 2014
12 noon - 1 p.m. in THE WINTER GARDEN:
Concert poster available HERE as pdf-file.
Concert program with notes (in Danish) available HERE as pdf-file.
Facebook event page: available HERE.
. . . and a seminar:
Thursday, September 25, 2014, 3:15-5 p.m. in U67
What Chords Are Doing: On Tonality in Jazz Improvisation and in Tonal Music in General. From Schönberg to Bill Evans
Per Aage Brandt, Professor Adj. in Cognitive Science at Case Western Reserve University. Founder of the journal Cognitive Semiotics. Jazz pianist.
Abstract: This will seem very elementary to you: Tonality is based on the very peculiar phenomenon of tone, truly parallel to that of symbolic units such as, speech sounds (phonemes) and graphs in writing (graphemes) and certain colors (chromemes). A tone is a sound with a clear F0 (zero formant); it does not refer to its source but instead to other tones – mental entities that 1) form syntactic compositions 2) associated with meanings and 3) admitting widely variable expression.
Tones are identified by octaves, whereas non-tonal sounds do not have octaves. The tonal octave gives rise to a huge array of possible scales that again feed the melodics of tonal phrases; this is as far as we know a universal phenomenon, which also determine the configuration of musical instruments. The scale-to-phrase relation is basic in all forms of music, musical transmission and musical learning. But in many forms of written and unwritten music, something happens between scale and phrase, namely so-called harmony, a practice built on selections of tones from a given scale that are allowed to be sounding simultaneously for a number of beats in so-called measures, or ‘bars’: chords (a term motivated by the instruments that can easily do this). One chord at a time. The phrase will consequently sound as figure on a ‘ground’ created by the chord. The next step that complicates the situation is modulation, that is, an autonomous use of changes from chord to chord that altersthe underlying scale! This move creates a new situation for the formation of phrases. Now the phrase will have to conform to changing scales, so that the eligibility of tones changes, sometimes instantly. The musician will know when that happens by listening to the chord changes and swiftly calculate what they do to the scale that a piece, or tune, started with or otherwise is dominated by (and which has a base tone called the ‘tonic’ or key note and an internal so-called ‘functional’ order based on the formants of the base tone), so that the melodic phrasing does not get out of ‘tune’. Modulation with changing basic tones now becomes a highly sophisticated sport, until so-called atonal and serial music stopped the entire process of complexification and reverted to inventive forms of the scale-to-phrase organization.
Arnold Schönberg has a nice dynamic interpretation of the internal principles of functionality and modulation, as they were developed from the Renaissance music and up to late Romantic harmonization. Here is historically where jazz music takes over by developing canonical and cyclic patterns that allow musicians to coordinate their inter-playing online and cultivate polyphonic but personalized improvisation as a new art form. I will study a couple of examples from great masters incl. saxophonist Coltrane (Giant Steps) and pianist Bill Evans (Time Remembered).
Kamraan Z. Gill & Dale Purves 2009, “A Biological Rationale for Musical Scales” offers a wonderful overview of scales in the world’s music.
Arnold Schönberg, (1911) 1922, Harmonielehre, Universal Edition.
Facebook event page: available HERE.
Audience participation via Skype is also welcome.
Poster available as pdf file HERE.
Humanities, Technology and Musical Practice
The Performances of Everyday Living
Introduction: The SDU research program The Performances of Everyday Living (PEL) based at the Institute for the Study of Culture, widens the purview of The Aesthetics of Music and Sound - Cross-disciplinary Interplay between the Humanities, Technology and Musical Practice (AMS) www.soundmusicresearch.org. The official date for the launch of PEL was January 1, 2014. Research programs of this kind are established for three years at a time, in the case of PEL 2014-2016. AMS functioned 2006–2013 as a research program devoted to investigating music primarily in terms of information and communication. AMS continues to exist, but now functions as a background milieu for PEL, where PEL moreover examines cultural, physiological/anatomic and institutional preconditions and implications of the appropriation, use – and meaning – of music. These are compared and contrasted with the corresponding preconditions and implications for the appropriation, use and meaning of art, food and physical culture/exercise. By coordinating research areas as disparate as these, we hope to provide increased understanding of central activities which invoke a participatory aesthetic in the life and experience of modern humans. These activities are constructively contrasted and compared as species of performances. The relevance of performance as an integrative perspective appropriate for this research has been clearly demonstrated within NNIMIPA: Nordic Network for the Integration of Music Informatics, Performance and Aesthetics (www.nnimipa.org), an SDU-based research network that has functioned in parallel with AMS since 2007.
Projects: Here is a representative selection of projects that either were in progress or under development as PEL became officially established on January 1, 2014:
Performance, Natural Movement, Exercise and Fitness
Examines connections between authentic artistic performance, musical appropriation, "natural" movement and proprioception.
Music and Meal Culture in Vollsmose
Explores "sensuality" in a Middle Eastern, Islamic perspective in compared with a Scandinavian, Lutheran one, as manifested in the food, art and music practices of the respective cultures. Methods of psychometric validation are explored and employed.
Metal Music and Culture
Why is a style of music so fixated upon themes of death, nihilism and self-destruction the preferred conduit for aesthetic self-expression for so many in this, the supposedly happiest of all areas on earth? How does its appeal relate to dark Romanticism and dissonant properties of music and imagery?
The Performative Pairing of Food and Music
Comparison and contrast of the roles food and music play as potent regulators of our moods and emotions as the latter influence our experience of meaningfulness and significance in our daily lives.
Getting Inside the Music
This project concerns itself with the investigation and development of performative, participatory and immersive techniques in music pedagogy and in the use of music in pedagogy in general.
Members: Membership in the Core and associated members work at the Institute for the Study of Culture at SDU; see here. Affiliated members come from relevant external milieux: More information about the roles played by individual group members will be made available as the site for PEL continues to be developed within the context of AMS during the spring of 2014.
1. Claudio Cifuentes Aldunate
2. Mogens Davidsen
3. Cynthia M. Grund
4. Vitus Vestergaard
5. Mikkel Snorre Wilms Boysen
6. Marianne Børch
7. Erik Damberg
8. Nikolaj Frydensbjerg Elf
9. Lars Ole Sauerberg
10. Roy Sellars
11. Herdis Toft
12. Andreas Lenander Ægidius
13. Matthias Bode, Assoc. Prof., Marketing and Management, SDU (Acoustic branding).
14. Kasper Hafstrøm Bøg, Kommunikatør & projektleder, Syddansk Musik og Skuespillerskole- SMKS.
15. Erik Christensen – PhD, Aalborg U 2012 (Neuroscience/music therapy).
16. Jakob Christensen Dalsgaard, Assoc. Prof, Biology, SDU.
17. Søren R. Frimodt-Møller, Asst. Prof., Dept. Of Architecture, Design, and Media Technology; Aalborg U-Esbjerg (Media, philosophy and music).
18. Helene Gjerris – Prof. & vocalist, SMKS, (Performance studies).
19. Kristoffer Jensen – Assoc. Prof., Dept. Of Architecture, Design, and Media Technology; Aalborg U-Esbjerg (IT and music). NNIMIPA Coordinator, Aalborg U-Esbjerg.
20. Christian Mosbæk Johannessen, Assistant Professor, Dept. of Language and Communication, SDU (Centre for Human Interactivity & Centre for Multimodal Communication)
21. Michael O’Boyle – Prof., Texas Tech U - TTU (fMRI/neuroscience).
22. Mika Sihvonen -Senior Researcher in The School of Information Sciences University of Tampere, Tampere, Finland. NNIMIPA Coordinator, UTA.
23. Christophe Szpajdel, logo designer, Belgium.
24. Niels Ullner – Prof. & cellist, SMKS (Performance studies).
25. William Westney – Prof., TTU. Expert piano performance.
26. James Yang – Asst. Prof., TTU. Motion capture.
Looking Ahead: Quite a few members from each category are giving seminars in the series Topics in the Aesthetics of Music and Sound throughout 2014: please see here.
Please visit us frequently here on our site to follow the development of the research program The Performances of Everyday Living.
NNIMIPA: Nordic Network for the Integration of Music Informatics, Performance and Aesthetics, a NordForsk network, held a satellite session - Music, Movement and the Brain - on October 14, 2013 in conjunction with The 10th International Symposium on Computer Music Multidisciplinary Research (CMMR) October 15-18, 2013. themed Sound, Music and Motion. Please see http://www.nnimipa.org for details.
IF YOUR BROWSER DOES NOT SUPPORT EMBEDDING IN THE SPACE BELOW, PLEASE VIEW THE VIDEO AT http://youtu.be/U9DYVvyDA0k.
Welcome to the website for
The Aesthetics of Music and Sound (AMS)
- a research program under the aegis of the Institute for the Study of Cultureat the University of Southern Denmark, 2006-2013, and during 2014-2016 a milieu and context that frames, among other activities, the research program The Performances of Everyday Living; please see above. We hope that you will find this website both useful and informative as you navigate through the menu choices available on the tabs at the top of each page. In addition:
the goals and background of AMS are described HERE.
a printer-friendly synopsis of AMS in pdf-form is available HERE.
these networks are closely affiliated with The Aesthetics of Music and Sound. The logos are hyperlinks:
JMM: The Journal of Musicand Meaning (Funded by the Danish Research Council for the Humanities.)
Nordic Network for the Integration of Music Informatics,Performance and Aesthetics(Supported by NORDPLUS 2007-2010; a research network under NordForskSeptember 1, 2010-August 1, 2013.)
netværk for tværvidenskabelige studier af musik og betydning/
network for cross-disciplinary studies of music and meaning
(Note on September 21, 2012: This is largely an archival site, where the rich variety of programs sponsored by NTSMB from 2001-2010 may be viewed. NTSMB was the exploratory network founded in 2001 with two years' worth start-up funding from the Danish Council for Research in the Humanities and in which JMM, NNIMIPA and the present program/site, The Aesthetics of Music and Sound, all have their origins.)
For information about addtional networks with which the research program is affiliated, please see the menu tab labeled Research Networks.
On behalf of The Aesthetics of Music and Sound,
Cynthia M Grund, Coordinator
Research Director for The Performances of Everyday Living.
Technological and Aesthetic Investigations of the Physical Movements of Pianists: Photo Essay
During week 42 2012, October 15-21, while the fall break was being observed at Danish universities, research connected with The Aesthetics of Music and Sound was being carried out across the Atlantic at Texas Tech University (TTU), Lubbock Texas. Continuing an investigatory process that began in February 2010 at the fourMs Laboratory at the University of Oslo, Cynthia M. Grund and William Westney have established a collaboration with a new research team for a motion capture pilot study at TTU.
Here is a photo essay (requires Flash) that documents the research activities that took place at TTU October 13-18, 2012.
Tip: To view the essay in full-screen mode, just click on the circled arrow in the middle of the picture and then click on the screen icon in the lower left-hand corner. To control the speed with which the slides progress, move the cursor to the lower right-hand corner when in full-screen mode. A row of five arrows appears; the slowest setting is activated when only the leftmost arrow alone is highlighted; the fastest setting is activated when all five arrows are highlighted.
For more background, on the origins of this work in the context of a meeting of NNIMIPA: Nordic Network for the Integration of Music Informatics, Performance and Aesthetics in Oslo, Norge, February 2010, please see http://www.nnimipa.org/JWG.html and http://www.nnimipa.org/CM.html. For more background on the project Technological and Aesthetic Investigations of the Physical Movements of Pianists, please see http://www.soundmusicresearch.org/TRA.html.
Institute for the
Study of Culture
(Institut for Kulturvidenskaber - IKV)
Research Director for
The Performances of
The Aesthetics of
Music and Sound
Editor and Webmaster for
Cynthia M. Grund
for ""Updates" and "News":
September 19: Lunchtime Concert with Per Aage Brandt, jazz pianist,Thursday, September 25, 12 noon -1 p.m. in The Winter Garden, University of Southern Denmark, Campusvej 55, 5230 Odense M. Program HERE; poster HERE. followed by a seminar, also with
Per Aage Brandt, Professor Adj. in Cognitive Science at Case Western Reserve University. Founder of the journal Cognitive Semiotics: What Chords Are Doing: On Tonality in Jazz Improvisation and in Tonal Music in General. From Schönberg
to Bill Evans. Thursday, September 25, 3:15 p.m. - 5 p.m. in in U67, University of Southern Denmark, Campusvej 55, 5230 Odense M. Audience participation via Skype is also welcome. Poster for the seminar available HERE. The schedule for all seminars during the semester may be found HERE.
September 14: Lunchtime Concert with Sofie KØ, alternative poprock, with August Korsgaard at the piano and Laurits Brinkmann on bass. Thursday, September 18, 12 noon -1 p.m. in The Winter Garden, University of Southern Denmark, Campusvej 55, 5230 Odense M.
The concert will be followed by a seminar with Coen Elemans, PhD, Associate Professor, Institute of Biology, University of Southern Denmark - The Real "All-singing, All-dancing" Thing: Sound Production and Communication in Songbirds - Thursday, September 18
8, 3:15 p.m. - 5 p.m. in in U67, University of Southern Denmark, Campusvej 55, 5230 Odense M. Audience participation via Skype is also welcome. Poster for the seminar available HERE. The schedule for all seminars during the semester may be found HERE.
September 7: Seminar with Jakob Christensen Dalsgaard, PhD, Associate Professor, Center for Sound Communication, Institute of Biology, University of Southern Denmark - What Did the World Sound Like to the Dinosaurs? Thursday, September 11, 3:15 p.m. - 5 p.m. in in U67, University of Southern Denmark, Campusvej 55, 5230 Odense M. Audience participation via Skype is also welcome. Poster for the seminar available HERE. The schedule for all seminars during the semester may be found HERE. . .