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Author: Alexandra Hui
Publisher: MIT Press
ISBN: 0262305038
Category : Science
Languages : en
Pages : 257
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Book Description
An examination of how the scientific study of sound sensation became increasingly intertwined with musical aesthetics in nineteenth-century Germany and Austria. In the middle of the nineteenth century, German and Austrian concertgoers began to hear new rhythms and harmonies as non-Western musical ensembles began to make their way to European cities and classical music introduced new compositional trends. At the same time, leading physicists, physiologists, and psychologists were preoccupied with understanding the sensory perception of sound from a psychophysical perspective, seeking a direct and measurable relationship between physical stimulation and physical sensation. These scientists incorporated specific sounds into their experiments—the musical sounds listened to by upper middle class, liberal Germans and Austrians. In The Psychophysical Ear, Alexandra Hui examines this formative historical moment, when the worlds of natural science and music coalesced around the psychophysics of sound sensation, and new musical aesthetics were interwoven with new conceptions of sound and hearing. Hui, a historian and a classically trained musician, describes the network of scientists, musicians, music critics, musicologists, and composers involved in this redefinition of listening. She identifies a source of tension for the psychophysicists: the seeming irreconcilability between the idealist, universalizing goals of their science and the increasingly undeniable historical and cultural contingency of musical aesthetics. The convergence of the respective projects of the psychophysical study of sound sensation and the aesthetics of music was, however, fleeting. By the beginning of the twentieth century, with the professionalization of such fields as experimental psychology and ethnomusicology and the proliferation of new and different kinds of music, the aesthetic dimension of psychophysics began to disappear.
Author: Alexandra Hui
Publisher: MIT Press
ISBN: 0262305038
Category : Science
Languages : en
Pages : 257
Get Book Here
Book Description
An examination of how the scientific study of sound sensation became increasingly intertwined with musical aesthetics in nineteenth-century Germany and Austria. In the middle of the nineteenth century, German and Austrian concertgoers began to hear new rhythms and harmonies as non-Western musical ensembles began to make their way to European cities and classical music introduced new compositional trends. At the same time, leading physicists, physiologists, and psychologists were preoccupied with understanding the sensory perception of sound from a psychophysical perspective, seeking a direct and measurable relationship between physical stimulation and physical sensation. These scientists incorporated specific sounds into their experiments—the musical sounds listened to by upper middle class, liberal Germans and Austrians. In The Psychophysical Ear, Alexandra Hui examines this formative historical moment, when the worlds of natural science and music coalesced around the psychophysics of sound sensation, and new musical aesthetics were interwoven with new conceptions of sound and hearing. Hui, a historian and a classically trained musician, describes the network of scientists, musicians, music critics, musicologists, and composers involved in this redefinition of listening. She identifies a source of tension for the psychophysicists: the seeming irreconcilability between the idealist, universalizing goals of their science and the increasingly undeniable historical and cultural contingency of musical aesthetics. The convergence of the respective projects of the psychophysical study of sound sensation and the aesthetics of music was, however, fleeting. By the beginning of the twentieth century, with the professionalization of such fields as experimental psychology and ethnomusicology and the proliferation of new and different kinds of music, the aesthetic dimension of psychophysics began to disappear.
Author: Alexandra Hui
Publisher: MIT Press
ISBN: 0262018381
Category : Science
Languages : en
Pages : 257
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Book Description
An examination of how the scientific study of sound sensation became increasingly intertwined with musical aesthetics in nineteenth-century Germany and Austria. In the middle of the nineteenth century, German and Austrian concertgoers began to hear new rhythms and harmonies as non-Western musical ensembles began to make their way to European cities and classical music introduced new compositional trends. At the same time, leading physicists, physiologists, and psychologists were preoccupied with understanding the sensory perception of sound from a psychophysical perspective, seeking a direct and measurable relationship between physical stimulation and physical sensation. These scientists incorporated specific sounds into their experiments—the musical sounds listened to by upper middle class, liberal Germans and Austrians. In The Psychophysical Ear, Alexandra Hui examines this formative historical moment, when the worlds of natural science and music coalesced around the psychophysics of sound sensation, and new musical aesthetics were interwoven with new conceptions of sound and hearing. Hui, a historian and a classically trained musician, describes the network of scientists, musicians, music critics, musicologists, and composers involved in this redefinition of listening. She identifies a source of tension for the psychophysicists: the seeming irreconcilability between the idealist, universalizing goals of their science and the increasingly undeniable historical and cultural contingency of musical aesthetics. The convergence of the respective projects of the psychophysical study of sound sensation and the aesthetics of music was, however, fleeting. By the beginning of the twentieth century, with the professionalization of such fields as experimental psychology and ethnomusicology and the proliferation of new and different kinds of music, the aesthetic dimension of psychophysics began to disappear.
Author:
Publisher:
ISBN:
Category : Mines and mineral resources
Languages : en
Pages : 504
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Book Description
Author:
Publisher:
ISBN:
Category : Mineral industries
Languages : en
Pages : 96
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Book Description
This report summarizes the Bureau of Mines noise-control research program from 1972 to 1982. Each segment of the mining industry--under- ground coal, underground hardrock, surface mining, and processing plants--has different noise-control problems because of vast differences in working procedures, equipment, and workplace design. The Bureau has identified the most serious noise problems in each segment and has developed strategies for attacking these problems. This publication points out the need for noise control in the mining industry, discusses Federal regulations governing worker exposure to noise, and describes the Bureau's overall approach to mining noise- control research. It traces the history of noise overexposure in each segment of the mining industry and discusses the major noise sources. It provides detailed information on noise-control research efforts in the Bureau's major areas of emphasis, including the results of these efforts. Finally, the report discusses the Bureau's future role in research on mining noise control, emphasizing the need to expend more effort on long term in-house investigations into the noise problems that have been identified in past programs as the most serious ones.
Author: Robert Blickensderfer
Publisher:
ISBN:
Category : Mechanical wear
Languages : en
Pages : 816
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Book Description
Author:
Publisher:
ISBN:
Category : Mines and mineral resources
Languages : en
Pages : 444
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Book Description
Author: Robert W. Baloh, MD, FAAN
Publisher: Oxford University Press
ISBN: 0190452722
Category : Medical
Languages : en
Pages : 478
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Book Description
This book provides a framework for understanding the pathophysiology of diseases involving the vestibular system. The book is divided into four parts: I. Anatomy and physiology of the vestibular system; II. Evaluation of the dizzy patient; III. Diagnosis and management of common neurotologic disorders; and IV. Symptomatic treatment of vertigo. Part I reviews the anatomy and physiology of the vestibular system with emphasis on clinically relevant material. Part II outlines the important features in the patient's history, examination, and laboratory evaluation that determine the probable site of lesion. Part III covers the differential diagnostic points that help the clinician decide on the cause and treatment of the patient's problem. Part IV describes the commonly used antivertiginous and antiemetic drugs and the rationale for vestibular exercises. The recent breakthroughs in the vestibular sciences are reviewed. This book will helpful to all physicians who study and treat patients complaining of dizziness.
Author: Daniel Matore
Publisher: Oxford University Press
ISBN: 0192857215
Category : Literary Criticism
Languages : en
Pages : 257
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Book Description
Is poetry a visual art? Why do the pages of nineteenth-century poetry look so different to those of twentieth-century verse? Exploiting the expressive possibilities of print--from spacing and indentation to alignment and typeface--is one of the defining ways in which poetry was modernized in the twentieth century. While the visual experiments of European poets have been well documented, the typographical explorations of poets writing in English have been largely neglected. This volume confronts a major unanswered question: why did British and American poets, from the beginning of the twentieth century right up to the present day, choose to experiment with the design and lay-out of the printed page? This book aims to provide the first detailed account of this lineage of literary style, examining the poetry and criticism of figures such as Ezra Pound, Hope Mirrlees, William Carlos Williams, E.E. Cummings, Marianne Moore, David Jones, Denise Levertov, Charles Olson, Frances Motz Boldereff, and J.H. Prynne. It draws on unpublished archival materials to show how poets began to draft, sketch, and compose in new and eccentric ways as they annexed the roles of book designer and printer. Typography, it argues, was instrumental in debates about metre, free verse, and the nature of poetry as poems morphed into scores, slogans, maps, and signs. It investigates how the typography of poetry was animated by musicology, psychophysics, linguistics, politics, ophthalmology, cartography, and advertising.
Author: P. Michael Conn
Publisher: Springer Science & Business Media
ISBN: 1597452858
Category : Medical
Languages : en
Pages : 756
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Book Description
The collection of systems represented in this volume is a unique effort to reflect the diversity and utility of models used in biomedicine. That utility is based on the consideration that observations made in particular organisms will provide insight into the workings of other, more complex systems. This volume is therefore a comprehensive and extensive collection of these important medical parallels.
Author: Cecilia Bjorken-Nyberg
Publisher: Routledge
ISBN: 1317021223
Category : Literary Criticism
Languages : en
Pages : 223
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Book Description
In her study of music-making in the Edwardian novel, Cecilia Björkén-Nyberg argues that the invention and development of the player piano had a significant effect on the perception, performance and appreciation of music during the period. In contrast to existing devices for producing music mechanically such as the phonograph and gramophone, the player piano granted its operator freedom of individual expression by permitting the performer to modify the tempo. Because the traditional piano was the undisputed altar of domestic and highly gendered music-making, Björkén-Nyberg suggests, the potential for intervention by the mechanical piano's operator had a subversive effect on traditional notions about the status of the musical work itself and about the people who were variously defined by their relationship to it. She examines works by Dorothy Richardson, E.M. Forster, Henry Handel Richardson, Max Beerbohm and Compton Mackenzie, among others, contending that Edwardian fiction with music as a subject undermined the prevalent antithesis, expressed in contemporary music literature, between a nineteenth-century conception of music as a means of transcendence and the increasing mechanisation of music as represented by the player piano. Her timely survey of the player piano in the context of Edwardian commercial and technical discourse draws on a rich array of archival materials to shed new light on the historically conditioned activity of music-making in early twentieth-century fiction.
