Switch to: References

Citations of:

Analysing Musical Multimedia

Oxford University Press (2000)

Add citations

You must login to add citations.
  1. Arousal Rules: An Empirical Investigation Into the Aesthetic Experience of Cross-Modal Perception with Emotional Visual Music.Irene Eunyoung Lee, Charles-Francois V. Latchoumane & Jaeseung Jeong - 2017 - Frontiers in Psychology 8.
    Download  
     
    Export citation  
     
    Bookmark  
  • Visual and Verbal Color: Chaos or Cognitive and Cultural Fugue? ‎.Mony Almalech - 2019 - In Evangelos Kourdis, Maria Papadopoulou & Loukia Kostopoulou (eds.), The Fugue of the Five Senses and the Semiotics of the Shifting Sensorium: Selected ‎Proceedings from the 11th International Conference of the Hellenic Semiotics Society.
    Fugue and chaos are used in their contemporary meaning. Elements of the fugue, albeit a ‎small number of universals, will be demonstrated in the area of visual and verbal colors. ‎Chaos dominates the internet, fashion, and everyday life. The visual and verbal colors are ‎differentiated and their communicative potential is indicated alongside the diachronic changes. The prototypes of colors are the interface between visual and verbal colors.‎.
    Download  
     
    Export citation  
     
    Bookmark  
  • Parameters of Perception: Vision, Audition, and Twentieth-Century Music and Dance.Allen Fogelsanger & Kathleya Afanador - 2017 - Avant: Trends in Interdisciplinary Studies 8 (1):59-73.
    Recent experimental psychological research on visual perception, auditory perception, and cross-modal perception has shed light on how these processes differ, and how the relations between visual and auditory stimuli shade our understanding of the events perceived. This work offers a possible way into considering the question of how music and dance “go together” or not, and particularly may shed light on the unusual twentieth-century human behavior of NOT having music and dance “go together.” Our paper presents relevant research in perception, (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Dance in the Store: On the Use and Production of Music in Abercrombie & Fitch.Nicolai Jørgensgaard Graakjær - 2012 - Critical Discourse Studies 9 (4):393-406.
    This article aims to contribute to the understanding of the functions of music in stores and similar semi-public settings through a critical discourse analysis of the music in Abercrombie & Fitch. This is an important field of study, which can arguably only grow in significance. Semi-public commercial places are increasingly struggling to create a strong and appealing image or brand. A range of challenges facing the retail sector lay down the premises for such a struggle: a retail market ever more (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Performances Compared. Sequential Replication of the Same Music Piece on an Audiovisual File.Giorgio Armato - 2016 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):87-95.
    In this paper I will address some theories of Roman Ingarden and Walter Benjamin in the light of the new reproductive technologies for streaming music. As to Ingarden's theory I argue that, in the case I am bringing into investigation, streaming music experience can bring new light on the problem of the identity of the musical work by creating a continuum in a sequence of performances, and such continuum may account for a sort of ‘fluid’ cross-identity of the music piece (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • The Crisis of Musical Aesthetics in the 21st Century.Gianmario Borio - 2009 - Topoi 28 (2):109-117.
    This essay is an attempt to understand the reasons for the current crisis of musical aesthetics. It examines the function of this discipline as the mediator between philosophy and musicology, it inquires into its connections with the ideals of autonomy, beauty and free subjectivity. During the 20th Century, major changes in society and their communication forms happened; anthropology and semiotics began to compete with aesthetics in explaining musical facts. The last paragraphs test the chances of resistance of musical aesthetics ; (...)
    Download  
     
    Export citation  
     
    Bookmark