標(biāo)題: Titlebook: Etudes on the Philosophy of Music; Juozas Rimas,Juozas Rimas Jr. Book‘‘‘‘‘‘‘‘ 2024 The Editor(s) (if applicable) and The Author(s) 2024 20 [打印本頁] 作者: 初生 時(shí)間: 2025-3-21 18:48
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作者: doxazosin 時(shí)間: 2025-3-21 23:46
https://doi.org/10.1007/978-94-015-9552-0music (J. Shepherd); language, musical language and semiotics (A. J. Greimas, C. Peirce, F. de Saussure); intra-musical and extra-musical semantics in music; and music as a language with multiple meaning (J. Fowles). The author defines musical intellect as the ability to read and understand musical language.作者: 天空 時(shí)間: 2025-3-22 03:52
Twan Basten,Roelof Hamberg,Jacques Verrietnovskiy). Rejection of the static approach to time in favour of the real flow of time (V. Sesemann). The goal of musical expression is to give intonational—temporal—movement to the form of a work. Musical time is the movement of sound structures dictated by the spirit of the work understood by the interpreter.作者: 猛擊 時(shí)間: 2025-3-22 08:03
https://doi.org/10.1007/978-981-19-6706-1tic articulation (N. Harnoncourt). Articulation and dynamics in Baroque music (mini-dynamics, which occurs within structural units, e.g., motifs). Dotted rhythm (W. Landowska). The nuances of sound cannot be inscribed in the visual space (A. Sverdiolas). Articulation and “fidelity to the work.”作者: 疲憊的老馬 時(shí)間: 2025-3-22 12:19
https://doi.org/10.1007/978-94-6091-618-2ty (A. ?liogeris). Simulation occurs when the energy of the meaning of being is lacking (J. Baudrillard), for example, when the performer pretends to understand what they are playing. The loss of personality as the basis of creation (H. Gadamer). Mass consciousness (J. Ortega y Gasset). The hypertrophy of specialisation of musical studies.作者: anaphylaxis 時(shí)間: 2025-3-22 13:14
https://doi.org/10.1007/978-3-031-18884-8ds of the author, “intonational intention.” Knowledge versus understanding (A. Schopenhauer, C. Taylor, Heraclitus). Expression as the result of understanding. The author will use comparative and analogical methods, but does not claim to produce a comprehensive study of the subject of musical expression.作者: anaphylaxis 時(shí)間: 2025-3-22 20:50
Introduction,ds of the author, “intonational intention.” Knowledge versus understanding (A. Schopenhauer, C. Taylor, Heraclitus). Expression as the result of understanding. The author will use comparative and analogical methods, but does not claim to produce a comprehensive study of the subject of musical expression.作者: Ancestor 時(shí)間: 2025-3-22 22:18 作者: 小樣他閑聊 時(shí)間: 2025-3-23 04:34
The Parameters of Time and Expression of Music,novskiy). Rejection of the static approach to time in favour of the real flow of time (V. Sesemann). The goal of musical expression is to give intonational—temporal—movement to the form of a work. Musical time is the movement of sound structures dictated by the spirit of the work understood by the interpreter.作者: 保守黨 時(shí)間: 2025-3-23 07:50
Agogics and ,tic articulation (N. Harnoncourt). Articulation and dynamics in Baroque music (mini-dynamics, which occurs within structural units, e.g., motifs). Dotted rhythm (W. Landowska). The nuances of sound cannot be inscribed in the visual space (A. Sverdiolas). Articulation and “fidelity to the work.”作者: ADORE 時(shí)間: 2025-3-23 12:28
Instrumentalising Creativity: Depriving Musical Expression of Meaning,ty (A. ?liogeris). Simulation occurs when the energy of the meaning of being is lacking (J. Baudrillard), for example, when the performer pretends to understand what they are playing. The loss of personality as the basis of creation (H. Gadamer). Mass consciousness (J. Ortega y Gasset). The hypertrophy of specialisation of musical studies.作者: 逃避現(xiàn)實(shí) 時(shí)間: 2025-3-23 15:18
Book‘‘‘‘‘‘‘‘ 2024hy of music, such as musical meaning and expression, musical ontology and the existence of the musical work, the relation between music and language, and the phenomenology of music. The book surveys the development of Western classical music from the Baroque era through to the 20th century, both fro作者: defray 時(shí)間: 2025-3-23 22:02
https://doi.org/10.1007/978-1-4419-9682-4f hermeneutics and musical hermeneutics. Analysis of the understanding of the text in light of the sources of culture which lie concealed within the inner creative force of a person, with reference to the Lithuanian composer J. ?vedas and writer B. Sruoga, active in the interwar period.作者: 漂亮 時(shí)間: 2025-3-23 23:55
https://doi.org/10.1007/978-1-4615-0605-8pression as the actualisation. A text is a system of signs: the sign is something which exists not as an end in itself but as a reference to something other than itself. The result of perception of the intonational links in the structure of the text is expressive intonational activity.作者: Rebate 時(shí)間: 2025-3-24 04:15
Music: A Part of Spiritual Culture,f hermeneutics and musical hermeneutics. Analysis of the understanding of the text in light of the sources of culture which lie concealed within the inner creative force of a person, with reference to the Lithuanian composer J. ?vedas and writer B. Sruoga, active in the interwar period.作者: Nucleate 時(shí)間: 2025-3-24 07:21 作者: Alpha-Cells 時(shí)間: 2025-3-24 11:47
Book‘‘‘‘‘‘‘‘ 2024m the perspective of contemporary Lithuanian philosophers such as Girnius, Maceina, ?liogeris, and Jackūnas, and 20th century European philosophy. In addition to discussing key questions in the philosophy of music, the book also analyses technical musical terms such as articulation, phrasing, and rhythm.?.作者: 我悲傷 時(shí)間: 2025-3-24 16:14
https://doi.org/10.1007/978-3-031-63965-420th century music; music theory; Lithuanian music; classical music; musical work; ontology; expression; Op作者: reception 時(shí)間: 2025-3-24 21:41 作者: 埋伏 時(shí)間: 2025-3-25 02:44
Model-Based Engineering of Embedded SystemsArticulation as the distinguishing and combining of tones (I. Braudo) and as semiotic organisation (A. J. Greimas). Articulation as the understanding and interpretation of text (P. Ricoeur, L. Wittgenstein). The means of articulation: metric, rhythmic and emotional accents (J. Cage, A. Pazovskiy).作者: Firefly 時(shí)間: 2025-3-25 04:22
Articulation,Articulation as the distinguishing and combining of tones (I. Braudo) and as semiotic organisation (A. J. Greimas). Articulation as the understanding and interpretation of text (P. Ricoeur, L. Wittgenstein). The means of articulation: metric, rhythmic and emotional accents (J. Cage, A. Pazovskiy).作者: 雜役 時(shí)間: 2025-3-25 11:30 作者: 被告 時(shí)間: 2025-3-25 13:32
https://doi.org/10.1007/978-3-031-15393-8etween music and numbers (Pythagoras, G. W. Leibniz, A. Schopenhauer, V. Sesemann). St Augustine’s definition of music as the ability to modulate well (.). Primeval speech as primeval song (R. Steiner). The primacy of music over the text in two traditional Lithuanian harvest songs: . (“Run, little r作者: monopoly 時(shí)間: 2025-3-25 18:18 作者: 大火 時(shí)間: 2025-3-25 22:47
https://doi.org/10.1007/978-3-319-07803-8h. Hearing and understanding (G. Colombero, B. Asaf’ev; C.P.E. Bach, R. Schumann). .. The method developed by C. Martienssen. “Wunderkind complex”. The author’s recording of the Andante from the Cassation in B flat major (KV 63a) by the 13-year-old W. A. Mozart. Six elements of sound creation: pitch作者: 有效 時(shí)間: 2025-3-26 02:07
https://doi.org/10.1007/978-94-015-9882-8s the following similarities with music: (1) the sonic nature of the realisation (the perception of the expression through hearing); (2) the processual nature (becoming in a particular segment of time); (3) the emotional nature (the aim of arousing affects); (4) common elements of both languages (ve作者: 胰島素 時(shí)間: 2025-3-26 05:13 作者: habile 時(shí)間: 2025-3-26 10:48 作者: Exclude 時(shí)間: 2025-3-26 15:28
Twan Basten,Roelof Hamberg,Jacques Verriet (.): the manifestation in sound of time felt internally. Musical events: a transition from one contextual situation to another (A. Benditskiy, M. Aranovskiy). Rejection of the static approach to time in favour of the real flow of time (V. Sesemann). The goal of musical expression is to give intonat作者: 彎腰 時(shí)間: 2025-3-26 19:12
https://doi.org/10.1007/978-3-642-16277-0ent poetic composition. Melodic rhythm expresses the true accents of the music. Also, there is a demonstration of the energetic quality of musical movement illustrated by a recording of . by Jean Sibelius (Op. 81, No. 2) for oboe and piano, with the author playing oboe.作者: ambivalence 時(shí)間: 2025-3-26 23:30
https://doi.org/10.1007/978-981-19-6706-1he notes; the grouping of the notes; .; “articulational silence”; the uneven nature of playing. The parallelism between music and speech (., .). Semantic articulation (N. Harnoncourt). Articulation and dynamics in Baroque music (mini-dynamics, which occurs within structural units, e.g., motifs). Dot作者: 存心 時(shí)間: 2025-3-27 02:31 作者: Duodenitis 時(shí)間: 2025-3-27 08:02 作者: 暖昧關(guān)系 時(shí)間: 2025-3-27 09:48 作者: Itinerant 時(shí)間: 2025-3-27 15:32
https://doi.org/10.1007/978-3-540-71986-1rpretation which indicates a hidden meaning. The text is aggressive because it declares what is written in it, and powerless, because everyone can do with it as they please (T. Sodeika). The work is only a promise, since what unfolds within it “does not yet exist” (A. Maceina). The work issues a cha作者: 蚊帳 時(shí)間: 2025-3-27 19:43 作者: adhesive 時(shí)間: 2025-3-27 22:50 作者: Figate 時(shí)間: 2025-3-28 04:56
Model-Based Reliability Systems Engineeringpenness to cultural experience and a need to pursue the meaningfulness of expression. Creative action is the return of experiences to the world (A. ?liogeris; Plato). Creative activity and creative attitude (E. Fromm). Creativity and self-expression; creative and possessive impulses (B. Russell). Th作者: CAPE 時(shí)間: 2025-3-28 09:05
https://doi.org/10.1007/978-94-6091-618-2raft nor art, but rather a mode of knowing (M. Heidegger). The depth of the instrumental as the depth of not-yet-knowing-of-how-to-use and irrationality (A. ?liogeris). Simulation occurs when the energy of the meaning of being is lacking (J. Baudrillard), for example, when the performer pretends to 作者: 把手 時(shí)間: 2025-3-28 13:01
Juozas Rimas,Juozas Rimas Jr.Offers the perspective of a world-renowned performing musician.Discusses works by many Eastern European music critics & philosophers that have not yet been translated to English.Contains links to the 作者: 充滿人 時(shí)間: 2025-3-28 14:43
http://image.papertrans.cn/f/image/320748.jpg作者: Mendicant 時(shí)間: 2025-3-28 20:01 作者: Spongy-Bone 時(shí)間: 2025-3-29 01:55 作者: 背景 時(shí)間: 2025-3-29 05:02
Something About Rhythm,ent poetic composition. Melodic rhythm expresses the true accents of the music. Also, there is a demonstration of the energetic quality of musical movement illustrated by a recording of . by Jean Sibelius (Op. 81, No. 2) for oboe and piano, with the author playing oboe.作者: Myofibrils 時(shí)間: 2025-3-29 10:02
The Difference Between Articulation and Phrasing, a phrase are combined or separated. The views of H. Riemann and H. Keller on the difference between articulation and phrasing. Articulatory slurs: . slurs, slurs of phrasing and structural slurs. Articulatory purpose (I. Braudo).作者: Commission 時(shí)間: 2025-3-29 11:57
The Origin of Music and Its Specific Characteristics (the Historical-Ontological Aspect),, which H. Gadamer defines as a constant hermeneutic movement guided by anticipation of the whole. Without expression, a piece of music is only the potential repository of intonations and a question in suspense awaiting an answer (and this answer is an expression which fulfils the idea of the work).作者: 澄清 時(shí)間: 2025-3-29 16:33 作者: 要素 時(shí)間: 2025-3-29 22:56
Some Principles of Baroque Aesthetics Which Are Important for Musical Expression,an musicologist G. Daunoravi?ien?, intellectual and affective communication between the orator/music and listener characteristic of the Baroque aesthetic means that not only the former (the addresser) but also the latter (the addressee) participates in the becoming of the work. Mention of other prin作者: 不開心 時(shí)間: 2025-3-30 03:01
Voice and Sound,e Lithuanian folk song . (“O, you little fir tree”); . by the Lithuanian composer J. Indra (1918–1968) and the Lithuanian folk song . (“Green rue”)..Brief discussion of various aspects of vocal quality of sound expression and historical examples: ., ., instrumental obligatos of the arias of cantatas作者: Excitotoxin 時(shí)間: 2025-3-30 06:29 作者: Deference 時(shí)間: 2025-3-30 08:44 作者: 都相信我的話 時(shí)間: 2025-3-30 15:12 作者: Systemic 時(shí)間: 2025-3-30 18:52
The Transcendent Quality of a Musical Work,of the work and musical hearing. The knowledge, abilities and values stored in a person’s experience reflect the identity of the semantic subject: a person’s experience is a system of individual meanings (?. Jackūnas, R. Pavilionis).作者: jabber 時(shí)間: 2025-3-30 22:09
The Concept of Creativity (and Its Importance for Musical Expression),a): the performer has to overcome not only the mental but also instrumental, opposition of the form. Freedom as the main condition for creative activity. The latent thinking of the artist as manifestation of the artist’s experience in their creative activity (S. ?alkauskis). The broader concept of f作者: 禁止,切斷 時(shí)間: 2025-3-31 03:02
ris, and Jackūnas, and 20th century European philosophy. In addition to discussing key questions in the philosophy of music, the book also analyses technical musical terms such as articulation, phrasing, and rhythm.?.978-3-031-63967-8978-3-031-63965-4作者: 揉雜 時(shí)間: 2025-3-31 07:59
https://doi.org/10.1007/978-3-031-15393-8, which H. Gadamer defines as a constant hermeneutic movement guided by anticipation of the whole. Without expression, a piece of music is only the potential repository of intonations and a question in suspense awaiting an answer (and this answer is an expression which fulfils the idea of the work).作者: Between 時(shí)間: 2025-3-31 10:31
https://doi.org/10.1007/978-3-319-07803-8dulations of sound dictated by intonation. .. Intuitivist philosophy of art (H. Bergson; A. Andrijauskas). Intuition as cognition which is unconsciously realised (K. Wojtyla). Intuitive vs. mental cognition. Listening to music is important for the development of intuition, like learning a language w作者: countenance 時(shí)間: 2025-3-31 14:11
https://doi.org/10.1007/978-94-015-9882-8an musicologist G. Daunoravi?ien?, intellectual and affective communication between the orator/music and listener characteristic of the Baroque aesthetic means that not only the former (the addresser) but also the latter (the addressee) participates in the becoming of the work. Mention of other prin作者: dilute 時(shí)間: 2025-3-31 21:35 作者: 有幫助 時(shí)間: 2025-4-1 01:20
Studies in Computational Intelligence idea of the work. Expression is the externalisation of the inside (i.e., indicated by the prefix “ex”). An “unapparent connection” is stronger than one which is obvious (Heraclitus; A. Adom?nas): the former still has to be made “apparent” through perception and expression.
