Lawrence M Zbikowski
Datos Biográficos
| ID | 239735 |
|---|---|
| NOMBRE | Lawrence M Zbikowski |
| NOMBRES | Lawrence M |
| APELLIDO | Zbikowski |
| FIRMA | ZBIKOWSKI L M |
| AFILIACIONES | University of Chicago |
| VERIFICADO | No |
| TOTAL DE OBRAS | 14 |
| TOTAL DE CITAS | 22 |
| TOTAL COMO AUTOR | 14 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1995 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2018 |
| ÍNDICE H | 3 |
Conceptual blending, creativity, and music
This article explores the use of conceptual blending theory for the study of creativity, especially as creativity is manifested in musical utterances. The first part of the article offers an overview of blending theory and describes two aspects of the theory that present challenges to the study of creativity in general, and to music in particular. The second part of the article offers an application of blending theory to Dido’s lament from Henry …
Performing Agency
This essay, which responds to the essays collected here, draws on a theory of agency developed by the social anthropologist Alfred Gell to argue for the essentially social nature of musical agency, and the essential role of performance in enacting musical agency. This perspective is then brought to bear on each essay, as well as on the discipline of music theory as a whole
Music and Dance in the Ancien Régime
This chapter explores the contribution French noble dance made to the topical universe available to composers in the latter half of the eighteenth century. The chapter reviews the culture of dance in the ancien régime and offers a detailed analysis of the relationship between music and dance in a bourrée; the choreography for this bourrée was preserved in dance notation and published in 1700. This analysis suggests that topical references to Fren…
Music, Dance, and Meaning in the Early Nineteenth Century
In early-nineteenth-century Europe, dance was an essential part of celebration and recreation in both city and country and of the rich social and cultural context within which music was performed. As has often been noted, however, the cultural practices of early-nineteenth-century Europe underwent a number of profound changes, and the practices surrounding music and dance were no exception. While in the years before 1800, a clear distinction exis…
Music, Language, and What Falls in Between
The story that Francesca Lawson tells about Shuōchang in both her essay and her recent book (Lawson 2011) is a fascinating one, not least because the genre presses against the boundary between speech and music. Lawson uses this pressure as an opportunity to explore recent work on language and music by Ani Patel (Patel 2008) and to engage with the larger issue of the relationship between ethnomusicology and the empirical sciences brought into prom…
Music, Emotion, Analysis
In this essay I explore the idea that musical passages which are particularly remarkable are so in part because of ways they correlate with the progress and change of emotions. Taking as my point of departure Susanne Langer's idea that music represents a kind of non-discursive knowledge uniquely affiliated with emotional life, I argue that recent empirical research on music and emotion has not provided a compelling model for the relationship betw…
Ole Kühl's. Musical Semantics
Dance topoi, sonic analogues and musical grammar
For Etienne Bonnot de Condillac, music was a solution to a problem. The problem arose in connection with the radical empiricism he advocated in his 1746 Essai sur l'origine des connaissances humaines, which sought to derive all knowledge from sensation. Stated simply, the problem was one of explaining how such sensory information could be organized into knowledge. Music – and in particular the theoretical account of musical organization proposed …
Modelling the Groove
A musical groove is most typically created by a small group of musicians working together, each contributing parts to the whole. Characterizing the knowledge behind such interactive ventures has proved to be challenging. This article attempts to characterize the knowledge basic to grooves first by concentrating on 'the groove' as it is practised in soul, rhythm and blues, jazz fusion and various other popular genres, and second by focusing on cog…
Conceptualizing Music
This book shows how recent work in cognitive science, especially that developed by cognitive linguists and cognitive psychologists, can be used to explain how we understand music. The book focuses on three cognitive processes: categorization, cross-domain mapping, and the use of conceptual models, and explores the part these play in theories of musical organization. The first part of the book provides a detailed overview of the relevant work in c…
The Blossoms of 'Trockne Blumen
Metaphor and Music Theory
A recent discussion on the smt-list focused on Nicholas Cook's claim in Music, Imagination, and Culture that musical analysis is essentially metaphorical. This essay investigates this claim through a review of recent work on metaphor by cognitive scientists. This work both supports and modifies Cook's original claim. The latter portion of the essay presents examples of two applications of research on metaphor to music theory
Response to Robison, “Category Structures and Fuzzy Sets” (MTO 1.5)
I am gratified by Brian Robison's response to my essay, not the least because his references are drawn exclusively from the end of the alphabet, a place dear to my heart.I also value Brian's close and sensitive reading of the essay, and his extension of some of its informal formalizations through further formalization and fuzzification.Readers familiar with the SMT list will remember the considerable amount of interest in fuzzy set theory express…
Theories of Categorization and Theories of Music
Processes of categorization are known to be fundamental to human cognitive processing. This essay reviews the characteristics of two types of categories that give rise to conceptual representations. One type, which has been demonstrated to have a graded structure, is then used to model dynamic processes for thematic materials in the first movement of Bruckner's Sixth Symphony
Modelling the Groove
A musical groove is most typically created by a small group of musicians working together, each contributing parts to the whole. Characterizing the knowledge behind such interactive ventures has proved to be challenging. This article attempts to characterize the knowledge basic to grooves first by concentrating on 'the groove' as it is practised in soul, rhythm and blues, jazz fusion and various other popular genres, and second by focusing on cog…
The Blossoms of 'Trockne Blumen
Music, Dance, and Meaning in the Early Nineteenth Century
In early-nineteenth-century Europe, dance was an essential part of celebration and recreation in both city and country and of the rich social and cultural context within which music was performed. As has often been noted, however, the cultural practices of early-nineteenth-century Europe underwent a number of profound changes, and the practices surrounding music and dance were no exception. While in the years before 1800, a clear distinction exis…
Music, Emotion, Analysis
In this essay I explore the idea that musical passages which are particularly remarkable are so in part because of ways they correlate with the progress and change of emotions. Taking as my point of departure Susanne Langer's idea that music represents a kind of non-discursive knowledge uniquely affiliated with emotional life, I argue that recent empirical research on music and emotion has not provided a compelling model for the relationship betw…
Metaphor and Music Theory
A recent discussion on the smt-list focused on Nicholas Cook's claim in Music, Imagination, and Culture that musical analysis is essentially metaphorical. This essay investigates this claim through a review of recent work on metaphor by cognitive scientists. This work both supports and modifies Cook's original claim. The latter portion of the essay presents examples of two applications of research on metaphor to music theory
Response to Robison, “Category Structures and Fuzzy Sets” (MTO 1.5)
I am gratified by Brian Robison's response to my essay, not the least because his references are drawn exclusively from the end of the alphabet, a place dear to my heart.I also value Brian's close and sensitive reading of the essay, and his extension of some of its informal formalizations through further formalization and fuzzification.Readers familiar with the SMT list will remember the considerable amount of interest in fuzzy set theory express…
Theories of Categorization and Theories of Music
Processes of categorization are known to be fundamental to human cognitive processing. This essay reviews the characteristics of two types of categories that give rise to conceptual representations. One type, which has been demonstrated to have a graded structure, is then used to model dynamic processes for thematic materials in the first movement of Bruckner's Sixth Symphony
Metaphor and Music Theory
A recent discussion on the smt-list focused on Nicholas Cook's claim in Music, Imagination, and Culture that musical analysis is essentially metaphorical. This essay investigates this claim through a review of recent work on metaphor by cognitive scientists. This work both supports and modifies Cook's original claim. The latter portion of the essay presents examples of two applications of research on metaphor to music theory
The Blossoms of 'Trockne Blumen
Conceptualizing Music
This book shows how recent work in cognitive science, especially that developed by cognitive linguists and cognitive psychologists, can be used to explain how we understand music. The book focuses on three cognitive processes: categorization, cross-domain mapping, and the use of conceptual models, and explores the part these play in theories of musical organization. The first part of the book provides a detailed overview of the relevant work in c…
Modelling the Groove
A musical groove is most typically created by a small group of musicians working together, each contributing parts to the whole. Characterizing the knowledge behind such interactive ventures has proved to be challenging. This article attempts to characterize the knowledge basic to grooves first by concentrating on 'the groove' as it is practised in soul, rhythm and blues, jazz fusion and various other popular genres, and second by focusing on cog…
Dance topoi, sonic analogues and musical grammar
For Etienne Bonnot de Condillac, music was a solution to a problem. The problem arose in connection with the radical empiricism he advocated in his 1746 Essai sur l'origine des connaissances humaines, which sought to derive all knowledge from sensation. Stated simply, the problem was one of explaining how such sensory information could be organized into knowledge. Music – and in particular the theoretical account of musical organization proposed …
Ole Kühl's. Musical Semantics
Music, Emotion, Analysis
In this essay I explore the idea that musical passages which are particularly remarkable are so in part because of ways they correlate with the progress and change of emotions. Taking as my point of departure Susanne Langer's idea that music represents a kind of non-discursive knowledge uniquely affiliated with emotional life, I argue that recent empirical research on music and emotion has not provided a compelling model for the relationship betw…
Music, Dance, and Meaning in the Early Nineteenth Century
In early-nineteenth-century Europe, dance was an essential part of celebration and recreation in both city and country and of the rich social and cultural context within which music was performed. As has often been noted, however, the cultural practices of early-nineteenth-century Europe underwent a number of profound changes, and the practices surrounding music and dance were no exception. While in the years before 1800, a clear distinction exis…
Music, Language, and What Falls in Between
The story that Francesca Lawson tells about Shuōchang in both her essay and her recent book (Lawson 2011) is a fascinating one, not least because the genre presses against the boundary between speech and music. Lawson uses this pressure as an opportunity to explore recent work on language and music by Ani Patel (Patel 2008) and to engage with the larger issue of the relationship between ethnomusicology and the empirical sciences brought into prom…
Music and Dance in the Ancien Régime
This chapter explores the contribution French noble dance made to the topical universe available to composers in the latter half of the eighteenth century. The chapter reviews the culture of dance in the ancien régime and offers a detailed analysis of the relationship between music and dance in a bourrée; the choreography for this bourrée was preserved in dance notation and published in 1700. This analysis suggests that topical references to Fren…
Conceptual blending, creativity, and music
This article explores the use of conceptual blending theory for the study of creativity, especially as creativity is manifested in musical utterances. The first part of the article offers an overview of blending theory and describes two aspects of the theory that present challenges to the study of creativity in general, and to music in particular. The second part of the article offers an application of blending theory to Dido’s lament from Henry …
Performing Agency
This essay, which responds to the essays collected here, draws on a theory of agency developed by the social anthropologist Alfred Gell to argue for the essentially social nature of musical agency, and the essential role of performance in enacting musical agency. This perspective is then brought to bear on each essay, as well as on the discipline of music theory as a whole
Art (12 obras) · Epistemology (12 obras) · Philosophy (12 obras) · Musical (11 obras) · Psychology (9 obras) · Cognitive science (8 obras) · Literature (8 obras) · Neuroscience and Music Perception (7 obras) · Computer Science (5 obras) · Language, Metaphor, and Cognition (5 obras)