Rosemary N Killam
Datos Biográficos
| ID | 5112741 |
|---|---|
| NOMBRE | Rosemary N Killam |
| NOMBRES | Rosemary N |
| APELLIDO | Killam |
| FIRMA | KILLAM R N |
| AFILIACIONES | University of North Texas |
| VERIFICADO | No |
| TOTAL DE OBRAS | 4 |
| TOTAL DE CITAS | 0 |
| OBRAS COMO AUTOR | 4 |
| OBRAS COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1994 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2003 |
| ÍNDICE H | 0 |
A Model of Performing Musicians' Melodic Perception through Transcription of Two-Voice Contrapuntal Music
This article reports findings from two experiments examining strategies utilized by professional musicians who transcribed a Mozart duet, wherein we explored the possibility that their cognitive processes would be revealed through their transcription strategies on multiple sequential presentations of the same stimulus. We hypothesized that transcription accuracy would be influenced by four factors: Scale degrees, conjunct/disjunct melodic motion,…
Response to Professor Morse's Open Letter (MTO 3.3)
Professor Morse’s “Open Letter” in the last issue of MTO (3.3, May 1997) exhibits much thought and deserves careful reading, although Killam disagrees with many of Morse’s conclusions. The terms “sex” and “gender” are conflated by Morse, but Killam’s original article oversimplifies and ignores the complex implications of these terms for music and its analysis. Killam’s “Response” questions possible intermingling of theorists’ analytical methodolo…
Cognitive Dissonance
This article considers recent books on twentieth-century music by Lester (1989), Kostka (1990), Straus (1990), and Morgan (1991) and their exclusion of women composers’ scores. Three hypotheses for this exclusion are proposed, based on writings of Margolis and Foucault, and recent history in academic areas of theory and composition. Finally, a supplementary one-semester assignment list is presented of twentieth-century women’s compositions and an…
Feminist Theories—Process and Continua
Feminist music theories can usefully include concepts of relationship, reflexivity, contextuality and subjectivity. These theories can support diversity and individual experience through celebrating performance and ritual, and can explore process along with structure. Two songs of Parton illustrate relationships of modality and tonality. The songs support comparison and contrast of culturally-accepted means of expansions of tonal centers. Twentie…
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Feminist Theories—Process and Continua
Feminist music theories can usefully include concepts of relationship, reflexivity, contextuality and subjectivity. These theories can support diversity and individual experience through celebrating performance and ritual, and can explore process along with structure. Two songs of Parton illustrate relationships of modality and tonality. The songs support comparison and contrast of culturally-accepted means of expansions of tonal centers. Twentie…
Response to Professor Morse's Open Letter (MTO 3.3)
Professor Morse’s “Open Letter” in the last issue of MTO (3.3, May 1997) exhibits much thought and deserves careful reading, although Killam disagrees with many of Morse’s conclusions. The terms “sex” and “gender” are conflated by Morse, but Killam’s original article oversimplifies and ignores the complex implications of these terms for music and its analysis. Killam’s “Response” questions possible intermingling of theorists’ analytical methodolo…
Cognitive Dissonance
This article considers recent books on twentieth-century music by Lester (1989), Kostka (1990), Straus (1990), and Morgan (1991) and their exclusion of women composers’ scores. Three hypotheses for this exclusion are proposed, based on writings of Margolis and Foucault, and recent history in academic areas of theory and composition. Finally, a supplementary one-semester assignment list is presented of twentieth-century women’s compositions and an…
A Model of Performing Musicians' Melodic Perception through Transcription of Two-Voice Contrapuntal Music
This article reports findings from two experiments examining strategies utilized by professional musicians who transcribed a Mozart duet, wherein we explored the possibility that their cognitive processes would be revealed through their transcription strategies on multiple sequential presentations of the same stimulus. We hypothesized that transcription accuracy would be influenced by four factors: Scale degrees, conjunct/disjunct melodic motion,…
Art (3 obras) · Computer Science (3 obras) · Cognitive dissonance (2 obras) · Cognitive psychology (2 obras) · Neuroscience (2 obras) · Philosophy (2 obras) · Psychology (2 obras) · Social Psychology (2 obras) · Aesthetics (1 obra) · Cognition (1 obra)