APRIL 16
Provocation/Context
Vargas, Deborah. “Punk’s Afterlife in Cantina Time” In Social Text (2013) 31 (3 (116)): 57-73.
Stephens, Tim. “Sea Lion Defies Theory and Keeps the Beat.” In UC Santa Cruz Newscenter / Tuesday Newsday, 1 April 2013.
Theory
Phillips-Silver, Jessica, Athena Aktipis, and Gregory Bryant. “The Ecology of Entrainment: Foundations of Coordinated Rhythmic Movement.” In Music Perception, Vol. 28, No. 1 (September 2010), pp. 3-14.
Huron, David (2003). “Is music an evolutionary adaptation?” In I. Peretz & R. J. Zatorre (eds.), The Cognitive Neuroscience of Music. New York: Oxford University Press.
Bispham, John. “Rhythm in Music: What is it? Who has it? And Why?” In Music Perception, Volume 24, Issue 2, December 2006, pp. 125–134.
(+ Comment/Response: (to Bispham) Rodger Graham’s “Music as Socio-emotional Confluence: A Comment on Bispham,” and John Bispham’s “Music as Socio-Affective Confluential Communication? Response to Graham,” in Music Perception, Volume 25 No. 2, December 2007, pp. 167-168; 169-170.)
APRIL 23
ANALYSIS 1:
Choose two from among the many paradigms of temporal perception we have addressed so far:
Economic determinism of “passed” vs. “spent” time (E.P. Thompson)
Pulsed and non-pulsed time, and possibly its impact on formal individuation (Deleuze)
Omnipolitan/globalized time vs. local time; “the annihilation of space as a limit” (Stahl)
Similarity and invariance in form-bearing dimensions (McAdams/Matzkin)
Time-image and its amplification through (1) the occupation of space with the uncomfortable or unfamiliar, or (2) the cross-cutting between contrasting familiarities, contrasting “everyday” experiences
Kurthian/Zuckerkandlian/Berryan senses of “expectancy” that derive from wave-like motions, and produce teleological senses of times arising from meter.
Neumann’s “Zeitgestalt” concept, or Hasty’s derivations from same, in which connective intervals are the basis for future expectancy.
Vargas’ “puro pedo” time constructs, or notions of a synthetic “afterlife” like the one in which puro pedo punk’s temporality is said to have been projected.
… etc.
Bring to class a 10-minute presentation consisting of specific quotes from course readings, and a musical (or other sensory) example that can help to promote questions about the specific issues arising in an originating concept.
Provocation/Context
Wasler, Robert. “Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy.” In Ethnomusicology Vol. 39, No. 2 (Spring - Summer, 1995), pp. 193-217.
Theory
McAdams, S., and Matzkin, D. (2003). “The roots of musical variation in perceptional similarity and invariance.” In I. Peretz & R. J. Zatorre (Eds.), The Cognitive Neuroscience of Music. New York: Oxford University Press, 76-94.
Further reading:
Patel, Anirudh. “The Evolutionary Biology of Musical Rhythm: Was Darwin Wrong?” In PLOS Biology, March 2014.
Gopher D, Iani C. “Attention,” in Encyclopedia of Cognitive Science. London: Nature Publishing Company, 2002.
Jones, Mari Riess & Boltz, Marilyn. “Dynamic Attending and Responses to Time,” in Psychological Review, 1989, Vol. 96. No. 3, 459-491.
Clarke, Eric F. “Categorical Rhythm Perception: an Ecological Perspective.” In Action and Perception in Rhythm and Music (Alf Gabrielsson, ed.), pp. 19-33. Stockholm: Royal Swedish Academy of Music, 1987.