Music and Language

Este libro está pensado para asistir a los profesores de español como lengua extranjera en el nivel inicial pero también para maestras o maestros de música o de las/ los docentes generalistas, así como para padres interesados y gustosos de promover el desarrollo de sus hijos mediante un juego musical con ellos. Su lectura proporciona al lector el fundamento teórico que sustenta las propuestas didácticas y lo hace de forma sucinta, sin abrumarlo con extensas consideraciones académicas aunque proporcionando las fuentes que permitan al interesado ahondar en los temas Si bien fue concebido para la enseñanza del español en un contexto bilingüe, puede ser utilizado en un contexto de habla hispana como refuerzo de todas las habilidades sensorio-motrices vinculadas al desarrollo del lenguaje. El libro cuenta con una introducción teórica sobre la utilización de este tipo de enfoques en el aprendizaje de lenguas en edades tempranas y un compendio de guiones de clases con actividades, historias, material gráfico y referencias a materiales audiovisuales en la red para completar el trabajo. Los materiales están diagramas para cubrir un mínimo de tres meses de clases semanales que pueden muy fácilmente ampliarse al doble de tiempo agregando o cambiando algunos materiales. Este libro brinda sobre todo una metodología de trabajo fundamentada en un punto de vista holístico del aprendizaje.

Is music, in some sense, similar to language? The question takes on a special meaning when we speak of Classical Music - music of the later 18th and early 19th centuries. The idea that music is some kind of language has become central to the aesthetics of the age.

Despite the fundamental differences between both, this analogy is not merely a manner of speaking. Music can borrow features from language. To identify these features we need to take a closer look at both, and face the fact that language is still one of the greatest and most controversial riddles of everyday life.

By taking a historical perspective, viewing both music and language as accomplishments of human culture, many features come into relief that tend to get lost in the quest for essences.

Songs have always been the core of social life, from the very beginning of a new person, up until his death. The deep relationships between language and music have found in singing not only the expression of place culture, but it often was a vehicle knowledge of language itself and social conventions. After a short bibliographic survey of the act of singing in education through scientific research, this article presents presents the results of a qualitative research showing the role and standing of singing in general education, especially on two first classes of Primary School, as expressed through the books for all courses of the two classes, and on the curriculum.

Ranadhir Roy based his compositions for the esraj on the principle that they should be received as autonomous works not dependent on verbal language and liberated from the traditional notion of privileging the human voice. This paper proposes some ways of understanding these key principles behind Roy's compositions. Written in Bengali, the paper is a detailed version of a lecture given at a screening of the documentary film "Esrajer Ranadhir" by Jibansmriti Digital Archive in Kolkata on 20 July 2019.

Revised and expanded version of a paper read at the 15th EAJS International Conference 2017 (Lisbon, Aug. 30 – Sept. 2, 2017) - Section 5, Panel S5b_15: Sound and music as medium. For the published version, see http://doc.rero.ch/record/329598.

Commonly said to embody the 'urbane' and 'refined' lifestyle of metropolitan Tokyo and to prefigure the transnational and consumerist characteristics of today's mainstream J-Pop, Japanese City Pop has undergone several recontextualizations since it first surfaced in the last quarter of the 20th century. I use City Pop as an example to interrogate the intermedial qualities of the processes at work in the emergence and sustenance of popular music genres. I first examine some common multi-semiotic (aural, visual and textual) characteristics of the musical products most commonly classified as City Pop, conceptualizing the genre as an example of intermedial translation. I then relate the results of this examination to select material from a small diachronic corpus of Japanese-language musical intertexts built from music history books, disc guides, and newspaper and music magazine articles published between 1977 and 2016. I identify actors in the discursive construction of City Pop as a genre and trace changes in the musical and extra-musical qualities attributed to it. Our contemporary understanding of the term 'City Pop' and our perception of the artists it points to are shown to have been strongly shaped by enthusiast press articles and popular musical histories written by a relatively small number of Japanese music journalists who integrated disparate and often contradictory artistic productions into a coherent genealogical narrative centered on the folk-rock band Happy End. My findings indicate the comparatively strong importance of etic text-based narratives over emic musical properties or short-term music industry marketing strategies in the construction of City Pop as a popular music genre, pointing to the fundamental primacy of language/writing in what Jens Schröter has termed 'ontological intermediality.'

"Cheap Thrills" é uma canção da cantora australiana Sia, o tema foi composto pela própria intérprete em parceria com Greg Kurstin. Inicialmente a música foi escrita para a cantora Rihanna mas como esta acabou por não gravar Sia decidiu colocar o tema no seu disco (This is acting, 7º álbum). O tema conta ainda com a participação do artista jamaicano Sean Paul.
Este álbum reflete uma faceta importante da carreira de Sia, que nem todos conhecem, é que na verdade, além de cantora, SIA é também uma compositora muito requisitada por grandes artistas do mundo pop. Entre muitos outros destaco nomes como os das cantoras Beyoncé, Adele e Rihanna. Na verdade todo o álbum é constituído por canções que a cantora já havia escrito para outros artistas.
Musicalmente falando, o tema original está em fá#. Como é normal mudei a tonalidade para facilitar a execução: este instrumental está em sol menor. Apesar dos dois bemóis na armação de clave (sib e mib) a melodia não utiliza NUNCA o mib.
A parte A é um pouco difícil de executar por causa das notas graves e rápidas, mas o resto do tema é fácil.
Hamonicamente a música foi composta sobre 4 acordes apenas (sol menor, mib maior, sib maior e fá maior). É um tema fantástico para utilizar com os instrumentos Orff.

Letra / Lyrics
on, come on, turn the radio on
It's Friday night and I won't be long
Gotta do my hair, I put my make up on
It's Friday night and I won't be long

'Til I hit the dance floor
Hit the dance floor
I got all I need
No I ain't got cash
I ain't got cash
But I got you baby

Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
But I don't need no money
As long as I can feel the beat
I don't need no money
As long as I keep dancing

Come on, come on, turn the radio on
It's Saturday and I won't be long
Gotta paint my nails, put my high heels on
It's Saturday and I won't be long

'Til I hit the dance floor
Hit the dance floor
I got all I need
No I ain't got cash
I ain't got cash
But I got you baby

Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
I don't need no money
As long as I can feel the beat
I don't need no money
As long as I keep dancing

(I love cheap thrills!)
(I love cheap thrills!)
I don't need no money
As long as I can feel the beat
I don't need no money
As long as I keep dancing
Oh, oh

Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
I don't need no money
As long as I can feel the beat
I don't need no money
As long as I keep dancing

La, la, la, la, la, la, la
(I love cheap thrills!)
La, la, la, la, la, la, la
(I love cheap thrills!)
La, la, la, la, la, la, la
(I love cheap thrills!)
La, la, la, la, la, la
(I love cheap thrills!)

Cifra melódica
dó ré dó ré
ré dó ré sol sol sol
sol fá fá fá
fá fá sol fá fá

dó ré dó ré
ré dó ré sol sol sol
sol fá fá fá
fá fá sol fá fá

sib sib DÓ lá sib
sib sib DÓ lá sib
sib sib sib fá fá
sib sib DÓ lá
sib sib DÓ lá
sib sib sib sib fá fá

sol lá sib sol
sol sol sol sol
fá sol sol fá fá

sol lá sib sol
sol sol sol sol
fá sol sol fá fá

ré sol lá sib
lá sol ré dó
ré sol lá sib
lá sol ré...

ré sol lá sib
lá sol ré dó
ré sol lá sib
lá sol ré.

dó ré dó ré
ré dó ré sol sol sol
sol fá fá fá
fá fá sol fá fá

dó ré dó ré
ré dó ré sol sol sol
sol fá fá fá
fá fá sol fá fá

sib sib DÓ lá sib
sib sib DÓ lá sib
sib sib sib fá fá
sib sib DÓ lá
sib sib DÓ lá
sib sib sib sib fá fá

sol lá sib sol
sol sol sol sol
fá sol sol fá fá

sol lá sib sol
sol sol sol sol
fá sol sol fá fá

ré sol lá sib
lá sol ré dó
ré sol lá sib
lá sol ré...

ré sol lá sib
lá sol ré dó
ré sol lá sib
lá sol ré...

sib lá sib DÓ DÓ
sib, lá,
sib lá sib DÓ DÓ
sib...

sib lá sib DÓ DÓ
sib, lá,
sib lá sib DÓ DÓ
sib...

Educação Musical
José Galvão

Partitura e outros recursos em: http://josegalvao.wix.com/educacaomusical

"The paper discusses the problem of the interaction between verbal and vocal components in Russian romances. Dynamics of such hybrid texts is studied on the example of the romance "Fountain" by Sergei Rachmaninoff (lyrics by F. Tyutchev) with the use of time series method. An accent index is used for studying poetic text, whereas a special index that take into account both pitch and duration is introduced for studying the vocal line.
В статье обсуждается проблема взаимодействия вербальной и вокальной составляющей в тексте русского романса. С помощью метода временных рядов на примере романса Сергея Рахманинова «Фонтан» (сл. Ф. Тютчева) исследуется динамика гибридного текста. В поэтическом тексте при измерении динамики используется индекс ударности, а в музыкальном – индекс ВД, соединяющий высотность и длительность."

"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3, 7], is also well known. From these facets of Carter's music, I develop a narrative interpretation of his Petrarch sonnet–inspired solo flute piece, Scrivo in Vento (1991). Specifically, I forge narrative pathways by imagining the two tetrachords as active agents opposed in competition. Previous Scrivo analyses (Capuzzo 2002; Childs 2006) stress continuity by revealing Q-transforms and common-note voice leading between the tetrachords. While acknowledging such features, my analysis emphasises oppositional struggle by tracing the tetrachords as separate entities which cooperate and conflict as they manoeuvre to outdo each other.

The analysis advances three theses: (1) it guides listening to and reading Scrivo in a way which resonates with Carter's concern for the aesthetics of oppositional struggle, his choice of a sonnet as inspiration and his affinity for all-interval tetrachords; (2) it shows that music-analytical detail can be organised into dramatic narratives by (a) projecting dramatic roles onto categories asserted by a formal theory and (b) treating the formal theory's relations metaphorically as actions performed by each role as the musical work unfolds; and (3) it shows how detailed pc-set analysis can support a Heraclitean view of music: a flux of opposing forces seeking and resisting unity."

This paper in the form of an outline addresses the use of songs and instrumental music throughout the English-as-a-Second-Language (ESL) curriculum. The rationale for using music in general, and specifically using popular songs and instrumental music, are noted. Criteria for selection of music for classroom use are listed, and a taxonomy is offered of classroom techniques for using music. Activities are classified by the skill or skills they address: listening comprehension; reading comprehension; pronunciation/speaking practice; writing practice; culture-based activities; and grammar. Uses of instrumental music and music as a content area are addressed separately. Samples of appropriate music are offered (texts appended). An annotated bibliography lists articles about music in the class, commercial instructional materials using music, and some additional songs suitable for classroom use.

This dissertation examines the nearly complete German, English and French secondary literature on, and the composers’ commentary on, three renowned works of the European postwar avant-garde. With the aid of the software MAXQDA, I undertook a meta-analysis combining qualitative and quantitative methods to discover what the texts address and in which amounts, which terms play important roles in them, and what they say about subjects like perception and meaning. I analyse individual terms and topics and interpret their significance based on how often or how seldom each of them arises in the texts in relation to specific works over time. For example, terms or semantic fields such as complexity, extremes, violence and power continuously play a prominent role, while others like world or beauty are rarely used or not used at all during some decades. I discuss the discourses and their arguments - including several so far unknown sources -, which extend over sixty years now, based on analysis producing some surprising results – both for the single works and ultimately across works.

In diesem Beitrag soll unter Berücksichtigung von Internationalismen, die größere Lernprobleme bereiten als landläufig angenommen, gezeigt werden, welche Schritte bei einem nachhaltigen Wortakzenttraining durchlaufen werden müssen. Abschließend werden einige Erfahrungen zum Ausspracheerwerb bei Internationalismen durch Musik und Rhythmus vorgestellt.

A pedido de vários colegas envio mais um tema "clássico": Ode to Joy também conhecido por Hino da Alegria.
Escolhi uma obra que é muito conhecida e que pode ser tocada e/ou cantada facilmente por alunos iniciantes.
À semelhança de outros temas fiz pequenas alterações tanto a nível rítmico como melódico para facilitar a sua execução.
Desci um tom relativamente ao original (de Ré para Dó) para evitar notas acidentadas.
Faço algumas sugestões ao longo do vídeo relativamente aos executantes tendo em conta a dinâmica do tema.
Este pequeno excerto da Obra 9ª Sinfonia pode ser um pretexto para falar em assuntos como: música clássica; História da música e os seus grandes compositores; dinâmica (forte, piano, etc); mudança de andamento, etc...

As a genre without the distraction of a melody but a well-defined beat, rap offers an opportunity to explore the rhythmic and musical aspects of a language, yet this area remains neglected in hip-hop studies. An interesting case is Japanese rap, which has completely different syntax, vocabulary, accent patterns, and phonemes from English. While rhymes and stress accents punctuate the rhythm in American rap, Japanese verbal arts have traditionally not emphasized rhyming, and the language lacks stress accents. A combination of interviews with rappers, transcription, and analysis supports this exploration of the problems that Japanese rappers initially faced in rhyming and rhythm, the solutions they have applied, and the innovations they have made. Japanese rappers capitalize on their rich vocabulary of Chinese, Japanese, and Western-sourced words to form rhymes, and the pitch accents of the Japanese language and the rhythms of certain moras to create a melodious flow. Language is thus a key factor in adapting a global genre and in the process by which imitation leads to innovation.

A conference paper based on this article won the Hewitt Panteleoni Prize from the Mid-Atlantic Chapter of the Society for Ethnomusicology.

¿Qué es la música? ¿Cuál es la relación entre música y símbolo, o entre música y memoria? ¿Se puede decir que existe algo así como el " semantismo " del lenguaje musical? ¿Es la música un arreglo artificial de sonidos? ¿Nace la música de la imitación de los sonidos del entorno? Todas estas preguntas –que nos remiten al vínculo entre música y cosmos, heredado por Platón de la escuela pitagórica– se reactualizan en las composiciones musicales, en diversos momentos de la historia. Son también punto de partida para acceder a la estructura del pensamiento simbólico, a través de la propuesta antropológica de lo imaginario de Gilbert Durand.

What is music? Which is the relation between music and symbol, or between music and memory? Is it possible to say that there is something like a " semantic " of musical language? Is music an artificial arrangement of sounds? Is music born out of the imitation of environmental sounds? All these questions –that refer us to the link between music and cosmos inherited by Plato from the Pythagorean school– are reformulated in musical compositions at different moments of history. They are also a baseline for accessing the structure of symbolic thought, through Gilbert Durand's anthropological perspective of " the imaginary " .

大都市・東京における「都会的」で「洗練」されたライフスタイルを具体的に表現し、こ んにち主流となっている J-POP のトランスナショナルで消費主義的な特色を先取りするも のとして、日本の「シティ・ポップ City Pop」は最初に登場した 20 世紀最後の四半期から 現在にかけ、様々な再文脈化を経験してきた。本稿ではこのシティ・ポップを、ポピュラー 音楽のジャンル概念が出現し存続していくプロセスにおける、間メディア的（intermedial） な本質を調査するための一例として用いる。まず、もっとも一般的にシティ・ポップとして 分類されている音楽製作物に共通する複数の記号的（聴覚、視覚、テキスト）特徴がジャン ルとして概念化されていく過程を、間メディア的変換の一例として考察する。そして、1977 年から 2016 年にかけて出版された音楽史の書籍、ディスク・ガイド、新聞、音楽雑誌の記 事によって構成される日本語の音楽関連の小規模なコーパスから資料をピックアップし、調 査結果と結びつけていく。その上で、本稿はシティ・ポップをジャンルとして言説的に構築 していった行為者を特定し、それらが音楽に、あるいは音楽以外の性質に与えていった変化 を追っていく。そして現在におけるわれわれの「シティ・ポップ」という用語に対する理解 や、この語が指し示すアーティスト認識が、比較的少数の日本人音楽ジャーナリストによる、 熱狂的でマニアックな雑誌記事やポピュラー音楽史によって大きく形作られてきたことを明 らかにする。このような人々の手によって、多種多様でしばしば正反対の特徴を持つ音楽作 品群は、フォーク・ロックバンドのはっぴいえんどを中心に据えた一貫性のある系譜的「語 り」へとまとめ上げられていったからである。以上の分析を踏まえ、本稿はイェンツ・シュ レーター Jens Schröter のいう「存在論的間メディア性」における言語／記述の根本的な優 位性を参照しつつ、ポピュラー音楽ジャンルとしての「シティ・ポップ」の構築において、 イーミック（文化内在的）な音楽的特性や短期的な音楽産業のマーケティング戦略よりも、 エティック（文化外在的）なテキストベースの「語り」の方が強い重要性を持つ、というこ とを示す。

Despite a positive attitude towards the use of music in the foreign language classroom, teachers rarely integrate music into their lessons. Studies suggest two main explanations for this discrepancy: a limited knowledge of adapted material and a lack of theoretical grounding to support the use of music in the foreign language classroom. This article aims at examining how and why music can be used in the foreign language classroom. The first section describes some musical methodologies frequently used for language acquisition over time and provides references to resources containing music-based exercises for foreign language learning. The second part reviews research studies about the potential benefits of music-related methodologies for language acquisition and for specific linguistic skills.

Učebný text približuje odpovede na otázky, ako sa dajú vysvetliť niektoré paradoxy v evolučnom vysvetlení vzniku jazyka, aká je úloha rytmu v synchronizácii ako prerekvizite spolupráce a súdržnosti, aké je miesto rituálu vo vysvetlení vzniku jazyka a aké miesto má v komunikácii tradícia.

The origin of human musicality is often discussed within a dichotomous nature-or-culture framework. However, recent developments in neuroscience and evolutionary theory are opening up possibilities for ‘dual inheritance’ models. Emerging evidence of music’s deep roots in the most primordial areas of the brain––and of its effects on the plasticity of the neocortex––supports connections between the emotional communications of animals, musicality in human ontogenesis, and the wide variety of musical activities we participate in as the cultural creatures we are. Furthermore, a growing number of theories support a shared evolutionary origin for music and language, suggesting that music played a crucial role in the evolution of the human mind and the development of social and cultural cognition. Key literature associated with music and evolution is critically reviewed; and possibilities for integrated bio-cultural conceptions of music’s origins are considered.

The main focus of this monograph on whistled speech is the result of a worldwide inquiry primarily based on the author’s unprecedented fieldwork and laboratory experience. The different questions raised by the origin and the evolution of whistled forms of languages are also explored, including the role of environmental constraints in the emergence of whistled speech, their phonetic and phonological typology, the cognitive processing of whistled signals, monogenesis and polygenesis scenarios, the hypothesis of a whistled system preceding voiced speech, the intricate relationship between music and language in whistling, and the convergence/divergence with whistled communication among animals (birds, dolphins and primates).

This book also includes several documents and a chapter prepared in collaboration with René-Guy Busnel, a pioneer in the studies of whistled forms of languages who has worked with five different populations using whistled speech (from the late 60s to the early 90s).

The author has been intensively studying this fascinating language practice for the past 12 years, including 30 months of onsite research in collaboration with the cultural representatives of approximately twenty linguistic communities around the world.

Whistled speech represents an ancient traditional telecommunication system that has survived on all inhabited continents of our planet. In it, a whistle replaces the voice and carries the information. However, this practice does not replace ordinary speech but is used in a complementary way.  It serves to increase the audible range, but also under certain circumstances, the degree of secrecy of spoken communications.

Whistled speech is adapted to the structure of each language, to specific traditional rural activities such as hunting or shepherding, and to specific ecological milieux. It is today a severely endangered speech register that provides an alternative insight into the nature of human language.

Este é um pedido antigo que só consegui terminar agora devido ao elevado nível de exigência do instrumental.
O tema: “All I ask of you” foi composto pelo famoso Andrew Lloyd Webber e foi incorporado na banda Sonora do filme “o fantasma da ópera” (The Phantom of the Opera) Esta canção em forma de dueto foi inicialmente gravada por Cliff Richard e Sarah Brightman em 1986, transformando-se automaticamente num sucesso mundial gigantesco. Posteriormente, muitas celebridades regravaram o tema, sendo, na minha opinião, a versão de maior sucesso (recente) a do dueto entre Kelly Clarkson e Josh Groban (2015).
A letra do tema foi baseada no romance homônimo de Gaston Leroux. Tendo sido escrita por Andrew Lloyd Webber, e Charles Hart O musical narra a história de uma bela soprano, Christine Daaé, que passa a ser a misteriosa obsessão de um gênio musical conhecido como "O Fantasma da Ópera", já que ninguém o vê nem sabe quem é.
O álbum de estúdio com o elenco original está na lista dos 200 álbuns definitivos no Rock and Roll Hall of Fame, e vendeu entre 24 a 40 milhões de discos por todo o mundo.
Musicalmente falando, o tema original está na tonalidade de Dó# mas eu fiz esta versão em Dó natural, harmonicamente é muito bem construído e está no grau de dificuldade avançada para os alunos do 2º ciclo. Melodicamente é fácil tanto ao nível da altura (não tem notas alteradas nem grandes saltos, como ao nível do ritmo, (colcheias, mínimas e semínimas).
Deixei um pequeno solo sem legenda que sugiro que sirva para desafiar alguns alunos mais avançados que queiram tocar sozinhos.

Στην ανακοίνωσή μου αυτή αναπτύσσεται το σκεπτικό ανάληψης και ο τρόπος πραγμάτωσης μίας εργασίας που εκπονώ την τελευταία τριετία και αφορά τη μεταγραφή ψαλτικών μελών στο τουρκικό πεντάγραμμο. Συγκεκριμένα, η παρουσίασή μου χωρίζεται σε τρία μέρη: Στο πρώτο, περιγράφονται εν συντομία διάφορες προϋπάρχουσες καταγραφές μελών της Βυζαντινής Μουσικής στο πεντάγραμμο από άλλους ερευνητές, είτε του άμεσου είτε του μακρινού παρελθόντος. Τα υπόλοιπα δύο μέρη εστιάζουν στη δική μου μεταγραφή, διευκρινίζοντας, από τη μια, «γιατί» επιχειρείται, και, από την άλλη, «πώς» διεκπεραιώνεται, αντίστοιχα. Έτσι, στο δεύτερο μέρος τίθενται οι σκοποί της μεταγραφής, που σχετίζονται με μια γενικότερη προσωπική μου επιθυμία διάδοσης του μουσικού αυτού ιδιώματος σε μουσικούς και φιλόμουσους που προέρχονται από ομοειδή ανατολίτικα-τροπικά μουσικά συστήματα και όχι μόνο, καθώς και μια ειδικότερη σκέψη μου για διεξαγωγή ολιγόχρονων σεμιναριακού τύπου προγραμμάτων διδασκαλίας της ψαλτικής τέχνης, τα οποία θα ήταν αδύνατο να διεξαχθούν στη βάση της σημειογραφίας της Νέας Μεθόδου. Τέλος, στο τρίτο μέρος αναλύεται λεπτομερώς ο τρόπος μεταγραφής ως προς το γενικό θεωρητικό του χαρακτήρα (περιγραφικός;, ρυθμιστικός;, παραδειγματικός;) και τις ειδικές λεπτομέρειές του: τον τρόπο χωρισμού σε μέτρα, τον τρόπο απόδοσης γνωστών φράσεων ή συγκεκριμένων συμπλεγμάτων, τον τρόπο χρήσης της διαστολής, τον βαθμό επέμβασης ή μη στο πρωτότυπο κείμενο, την απόδοση των μικροδιαστημάτων μέσω της χρήσης ειδικών υφεσοδιέσεων, τον τρόπο καταγραφής του υμνολογικού κειμένου κ.ά.

Contributors:
Jamshed Bharucha, Mireille Besson, Ian Cross, Meagan Curtis, Laura Dilley, Zoltan Dienes, Nigel Fabb, W. Tecumseh Fitch, Jessica Grahn, Usha Goswami, John A. Hawkins, Morris Halle, Nina Kraus, Simon Kirby, Stefan Koelsch, Justin London, Devin McAuley, Iain Morley, Neil Myler, Steven Mithen, Aniruddh Patel, Brechtje Post, Isabelle Peretz, Kaivon Paroo, Ian Roberts, Martin Rohrmeier, Patrick Rebuschat, Daniele Schön, Erika Skoe, Elizabeth Tolbert, Bert Vaux, Leigh VanHandel, Geraint Wiggins, and John Williams.

(UN)TOUCHED BY WORDS: PSYCHOANALYTIC WRITINGS ON MUSIC AND MUSICAL ASPECTS OF PSYCHOANALYSIS


ODELIA HITRON

This essay reviews the main developments in psychoanalysis’ theoretical account of music, in an attempt to better understand the nature of the relation between the two --  as artistic and scientific disciplines, and as techniques. I attempt to recount the gradual process by which music was transformed from being perceived as an "opponent" of psychoanalysis, into its complementary.
Early Freudian theory conspicuously failed to refer to music – that is, to take it up as an object of study – since the quality of the psychic excitements generated by music could not be accounted for in terms of traditional psychoanalysis’ content-oriented and symbolic investigations. With the development of ego psychology, this began to change, as its expanded theorization of sublimation mechanisms could better attest to musical activity and experience. Soon after, object-relation theories and, in particular, Winnicott’s notions of creativity, being and formlessness, provided the 'fertile ground' for further and firmer theorization of music's role in psychoanalytic therapy and its contribution to psychoanalitic understanding and 'attentiveness.' Leading to a recognition of the intrinsic relation between the disciplines, the psycho-musical discourse enables a rethinking of the relations between words, sound, and the unconscious. Both at a metaphorical and a practical level, the musical vocabulary allows us to conceptualize therapeutic work in a new way, attesting to its formal aspects as well as content-oriented ones. It is by viewing music and psychoanalysis as irrevocably intertwined, and by keep establishing the relations between them, that the 'music' of psychoanalysis can be 'touched' by words.


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© 2011 Magnes Press/The Sigmund Freud Center, The Hebrew University
Ma’arag: The Israel Annual of Psychoanalysis, 2011, Volume 2 (pp. 55-82).""

Des déficits attentionnels peuvent perturber la lecture et participent aux difficultés rencontrées par certains enfants dyslexiques. Les procédures de lecture par adressage et par assemblage sont vulnérables à ces déficits, notamment parce qu'ils entravent des opérations cognitives en amont de ces deux voies, empêchant le groupement lettres/mot, l'identification des lettres et le codage de leur position. Des déficits de groupement visuel, une hyper-sensibilité au masquage latéral et un déséquilibre du traitement global/local seront évoqués. Pour un diagnostic des perturbations du traitement global /local, les résultats d'une expérience conduite avec le test SIGL©, évaluant les capacités à traiter spontanément la configuration d'un objet visuel complexe et à inhiber ses détails, sont rapportés pour décrire le développement de ces compétences entre 6 et 11 ans. Une expérience évaluant ensuite un programme d'entraînement informatisé (SWITCHIPIDO ©) destiné à réduire les déficits de ces deux mécanismes est aussi présentée. Il permet de rétablir un meilleur équilibre entre les traitements global et local et permet des progrès en lecture. Les résultats d'une expérience chez des étudiants dyslexiques montrent par ailleurs que certains déficits évalués par SIGL persistent à l'âge adulte. Les corrélations avec un bilan orthophonique et neuropsychologique suggèrent comment ils affectent la lecture. Les hypothèses concernant des anomalies de l'attention temporelle sont aussi présentées, dans un cadre théorique combinant les oscillations cérébrales et le rythme de distribution de l'attention. Cela conduit à évoquer des travaux réalisés à partir d'un matériel musical et permettant, à travers le traitement du rythme, d'améliorer l'analyse de l'information linguistique en perception de la parole mais aussi, comme contribuent à le montrer nos résultats récents, en lecture. Les déficits d'attention spatiale et temporelle seront enfin dissociés des difficultés attentionnelles du TDAH, parfois associé à la dyslexie, mais impliquant des mécanismes attentionnels d'un autre ordre, pour lesquels des prises en charges novatrices sont enfin évoquées.

The string quartet Fragmente-Stille, an Diotima from 1979 is described as a turning point not only in Luigi Nono’s oeuvre, but also in the history of musical modernism. Often, the reception focuses on the surprise of having these introvert sound fragments and silent Hölderlin quotations presented by a composer who had had a reputation for three decades of producing intense, confrontational music with revolutionary political intentions.
However, Nono’s use of silent Hölderlin quotations in the quartet can be understood as a continuation of an approach to texts and extra-musical meaning which characterises his works in all of his periods, an approach where conveying a text is less important than creating an engaging human context.
And while Nono’s quartet clearly signals a heightened emphasis on musical self-reflection, the overarching context is no less political than before:  it is concerned with the utopian transformation of the act of listening.

_Music and Text: Critical Inquiries_, ed. Steven Paul Scher (Cambridge University Press, 1992), pp. 118-136.
Appealing to theories of Paul Ricoeur, Theodor Adorno, and M. H. Abrams on narrative and narrative archtypes in particular cultures, this essay interprets the way in which Mahler embodies the archtype of the "spiral quest" in his four-movement symphony.  It also defends the unique way in which textless instrumental music can embody and represent such narrative archtypes.

Résumé

Cet article consacré à la réception de Kierkegaard par Adorno poursuivra un double objectif : d’un côté, il voudra, après avoir replacé l’esthétique de Kierkegaard dans son contexte, comprendre les principales critiques qu’Adorno adresse à l’esthétique de Kierkegaard dans sa thèse et, de l’autre, soulever la question des rapports qu’entretiennent la musique et le langage. Est-ce que l’expérience de la musique permet de mieux penser l’essence du langage ? Cette question mérite d’être posée non seulement parce qu’elle est commune aux deux auteurs, mais aussi parce qu’elle engage la réception adornienne de Kierkegaard. Pour proposer des pistes de réponse, nous nous appuierons sur le texte intitulé « Les stades érotiques immédiats de l’éros ou l’érotisme musical », un texte pseudonyme de Kierkegaard consacré à la musique, et la thèse d’Adorno. Cet article ne visera donc pas à expliquer la Théorie esthétique ni à expliciter la critique adornienne de la modernité, mais à saisir, au moyen des critiques d’Adorno, les rapports unissant la musique et le langage.