Musikästhetik

Moser, Hans Joachim

doi:10.1515/9783111661049

1953

DOI: 10.1515/9783111661049

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Musikästhetik

Hans Joachim Moser¹

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“…A three-dimensional model of musical space (with the axes of pitch, time, dynamics) has been also proposed by the German musicologist and composer Hans-JoachimMoser (1953). This model includes four beats in common time as units on the time axis, and standard dynamic levels (p, mf, f) as units on the dynamic's axis.…”

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confidence: 99%

The spatiality of sounds. From sound-source localization to musical spaces

Stefano

2022

aisthesis

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The proliferation of and interest in concepts of musical space make the question of why composers, philosophers, and musicologists have used spatial concepts for music – which is typically considered a temporal and ephemeral art form – a relevant issue in the multidisciplinary research on music. In this paper, I suggest distinguishing between a literal and a metaphorical meaning of the term “space” when applied to music and sounds. Thereafter, I investigate the reasons that might have lain behind the metaphorical use of spatial concepts for music, focusing on the concept of movement in music and examining relevant studies in the field of audiovisual correspondences which show that listeners consistently match certain acoustic features to spatial features. Finally, I claim that both the metaphorical and the literal uses of spatial concepts for describing music are rooted in the way people perceive the dynamic change of acoustic features in terms of a (pseudo)spatial phenomenology.

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confidence: 99%

The spatiality of sounds. From sound-source localization to musical spaces

Stefano

2022

aisthesis

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Temporal and spatial accounts of sound perception. An overview of the main historical sources and theoretical problems

Di Stefano

2023

Gestalt Theory

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Summary Music has been primarily conceived as a temporal art. However, over the last two centuries or so, researchers across different disciplines including musicology, psychology, and philosophy, have been intrigued by the spatial nature of music and sounds, using spatial concepts to define music. This paper aims to demonstrate that an understanding of music perception from a temporal perspective inherently implies a certain spatial dimension. To do this, first, I briefly examine some key arguments that lead to conceiving sound perception in temporal terms. At the same time, I highlight some of the limitations of a purely temporal account of sound perception which necessitate the incorporation of spatial considerations into the conceptualization of sound perception. Consequently, I move on to consider prominent spatial accounts of musical sounds that have been elaborated by psychologists, musicologists, and music composers. In conclusion, I discuss some of the challenges arising from the analogy between music and space, whether conceived in perceptual or cognitive terms.

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Musikästhetik

Cited by 2 publications

References 0 publications

The spatiality of sounds. From sound-source localization to musical spaces

The spatiality of sounds. From sound-source localization to musical spaces

Temporal and spatial accounts of sound perception. An overview of the main historical sources and theoretical problems

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