The courser’s objectives include:
1) Development of a vocabulary for intellectual discussion about temporal experience in music;
2) Enhancement of understanding about the listener’s, the composer’s, the improviser’s, the performer’s, and/or the composer’s perspectives when experiencing musical time;
3) Improvement of understanding about research and scientific methods of investigating the experience of musical time;
4) Familiarization with representative experimental methodologies and gain of experience with data analysis and report writing;
5) Development of the skills of written and verbal critical summeries of relevant theoretical and empirical literature;
6) Empirical investigation on a specific topic of interest concerning musical time in the fields of the psychology of music and/or music education. Students will be expected to carry out small projects (individually or in teams) as a means to answer their own questions about the role of temporal experience in music.
Course Content (Syllabus)
In an interview visual artist Marcel Duchamp called his work “breathing” instead of art. More specifically, he said: “I like living, breathing better than working...my art is that of living. Each second, each breath is a work which is inscribed nowhere, which is neither visual nor cerebral…”
The course “Time in Music. Music in Time” aims to help students examine the philosophical, psychological, sensory, and organizational processes involved in the temporal experience of music and the way learning occurs. In addition, significant attention will be devoted to the role of time in culture and its many uses and functions will be tackled and related to the musical experience.
Topics to be covered will include:
1) The temporal dimension of sound,
2) The relation of music to other social rhythms and durations,
3) The relation of music listening to memory and beliefs about subjectivity, diachrony, stasis, reversibility, “time of the other,”
4) The effects of multimedia, interactivity, and cyberspace on the experience of social and musical time.
5) The relationship between musical time and space as it appears in improvisation, soundscapes, film, and other inter-artistic practices.
Additional bibliography for study
Hallam, S., Cross, I., & Thaut, M. (Eds.) (2009). The Oxford Handbook of Music Psychology. Oxford: Oxford University Press.
Kramer, J. D. (1988). The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: Schirmer Books.
Lapidaki, E. (1996). Consistency of tempo judgments as a measure of time experience in music listening (Doctoral Dissertation, Northwestern University, 1996). (Dissertation Abstracts International, AAD97-14633).
Lapidaki, E., & Alexandru, M. (2008). Temporal experience in ecclesiastical chanting: A collaborative approach between music psychology and Byzantine musicology (full-text). In Proceedings of the Fourth Conference of Interdisciplinary Musicology (theme: Musical Structure). Aristotle University of Thessaloniki,Thessaloniki, Greece, 2-6 July.
Lapidaki, E. (2000). Stability of tempo judgments in music listening. Music Education Research, 2(1), 25-44.