Rolf Bader Bücher

The volume presents current research in the field of Systematic Musicology at the Institute of Musicology, University of Hamburg. Internationally leading research like the unique ‘Acoustic Camera’ developed at the Institute or a real-time hardware implementation of Physical Modeling as well as important contributions to the field of Musical Neurocognition and Psychology, like Forensic Music Psychology, or the development of a Syllogistic Music Theory addresses hot topics in Systematic Musicology today.Der Band präsentiert die aktuelle Forschung der Systematischen Musikwissenschaft am Institut für Musikwissenschaft, Universität Hamburg. Bei der international führenden Forschung, wie etwa der weltweit größten ‘Akustischen Kamera’, welche am Institut entwickelt wurde, oder der Echtzeit-Hardware-Implementierung von physikalischer Modellierung wie auch bei wichtigen Beiträgen auf den Gebieten der Musikalischen Neurokognition und Musikalischen Psychologie, z.B. der Forensischen Musikpsychologie oder der Entwicklung einer Syllogistischen Musiktheorie, handelt es sich um Schlüsselthemen heutiger Musikwissenschaft.

Wie ist musikalische Bedeutung möglich? Wie können musikalische Textur, Syntaktik oder Klanglichkeit etwas bedeuten, abgesehen von subjektiven Assoziationen oder Symbolik. Die Systematik der Herleitung musikalischer Bedeutung macht sich hier am philosophischen Satz vom Grund fest. Nichts ist ohne zureichenden Grund, kann hierbei in verschiedenen Lesarten den Bedeutungszusammenhang von musikalischen und außermusikalischen Inhalten ontologisch vermitteln. Diese Vermittlung, die aus dem Wesen der Begründung überhaupt hervorgeht, leitet so bereits einfache musikalische Sachverhalte her, wie etwa Rhythmus oder Pausen. Hieraus ergeben sich logisch auch ethische Aussagen im Bereich musikalischen Handelns sowie eine Basis vorhandener Lehren musikalischer Bedeutung in der Philosophie.

This unique reference book offers a holistic description of the multifaceted field of systematic musicology, which is the study of music, its production and perception, and its cultural, historical and philosophical background. The seven sections reflect the main topics in this interdisciplinary subject. The first two parts discuss musical acoustics and signal processing, comprehensively describing the mathematical and physical fundamentals of musical sound generation and propagation. The complex interplay of physiology and psychology involved in sound and music perception is covered in the following sections, with a particular focus on psychoacoustics and the recently evolved research on embodied music cognition. In addition, a huge variety of technical applications for professional training, music composition and consumer electronics are presented. A section on music ethnology completes this comprehensive handbook. Music theory and philosophy of music are imbedded throughout. Carefully edited and written by internationally respected experts, it is an invaluable reference resource for professionals and graduate students alike.

Exploring the intersection of culture, consciousness, and physicality, this book introduces a Physical Culture Theory that views culture as a self-organizing pattern of electric forces. It emphasizes the role of music as a key example, integrating acoustics, psychology, and ethnology into a cohesive framework. The theory rejects the divide between nature and nurture, proposing that all cultural phenomena are interconnected systems. It also advocates for ethical considerations in culture and arts as fundamental human rights, aiming to expand these concepts across various fields in the future.

In the volume perspectives on current trends in Systematic Musicology as well as aspects of disciplinary history are presented along with results from current research. Contributions to this volume, covering a broad range of areas, are organized into four sections: theory, methodology, and disciplinary history, musical acoustics (including modelling and signal processing) and organology, music psychology, neuromusicology, music theory and analysis, and ethnomusicology and folk music studies. In the first section, leading scholars in the field contemplate future trends in Systematic Musicology viewed as a proactive science, on the one hand, while reflecting its development (and that of Comparative Musicology, a discipline that has been close to Systematic Musicology from the beginning), on the other. The second section offers a number of articles that report results from research undertaken in musical acoustics making use of up-to-date methodology, plus some articles that are devoted to organology from an historical point of view. In the third section, contributions deal with statistical methods in music psychology, music perception and cognition as well as aspects of music theory and analysis. Section four is devoted to ethnomusicology and folk music research; while some of the articles deal with theoretical issues, others offer findings obtained from field work. This volume also contains a bio-biographical appendix.

Nonlinearities are foundational in musical systems, encompassing instruments, timbre, rhythm perception and production, and neural networks involved in music perception. This volume reviews past and present research in these areas. In Musical Acoustics, nonlinearities in instruments often yield musically intriguing features, as tone production arises from synchronization and self-organization within the instruments. The suggested Impulse Pattern Formulation (IPF) serves as an iterative framework applicable to all musical instruments, effectively reproducing complex and perceptually significant initial transients. In Music Psychology, nonlinearities influence various musical features, including pitch, timbre, and rhythm perception. Self-organizing models uniquely explain sudden phase transitions during rhythm production and tapping. Neural networks, both Kohonen and connectionist types, can replicate tonality, timbre similarities, and musical phrases. The volume also explores signal processing tools for nonlinear sound analysis, utilizing methods in the Fourier domain, such as Wavelets and correlograms, and in the phase-space domain, including fractal dimensions and information structures. Additionally, it introduces Physical Modeling of instruments using Finite-Element and Finite-Difference methods to address the complexity of instrument bodies and wave couplings. Ultimately, it concludes that most musical systems are self-org