Violence in the Ancient and Medieval Worlds

Pitch and pitch‐intervals are most often represented — in the western tradition — either by the traditional pitch naming system and the relating pitch‐interval names, or as pitch‐classes and pitch‐class intervals. In this paper we discuss the properties, relationships and limits of these two representations and propose a General Pitch Interval Representation (GPIR) in which the above two constitute specific instances. GPIR can be effectively used in systems that attempt to represent pitch structures of a wide variety of musical styles (from traditional tonal to contemporary atonal) and can easily be extended to other microtonal environments. Special emphasis will be given to the categorisation of intervals according to their frequency of occurrence within a scale. Two applications of the GPIR will be presented: a) in a system that transcribes melodies from an absolute pitch number notation to the traditional staff notation, and b) in a pattern‐matching process that attempts to discover repetition...

A general pitch interval representation: Theory and applications

La musicotherapie n’est pas une therapeutique nouvelle, et les evidences quant a ses bienfaits ne sont plus a demontrer. Cependant, si plusieurs auteurs en font mention, tres peu d’entre eux expliquent « pourquoi » et « comment » la musicotherapie permet a la personne autiste, le passage d’une parole que nous qualifions d’a signifiante a un discours nouveau et charge de sens. C’est ce que tente d’expliquer cette these de doctorat, et ce, grâce a de nombreux aller-retour entre clinique et concepts psychanalytiques (lacaniens en particulier).

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Musicothérapie et autisme : du chaos à l'organisé

The purpose of this study was to begin to explore the link of gesture and voice when teaching children and to examine how the children used these gestures in singing. Semi-structured interviewing techniques and observation were used extensively to collect information from the respondents. Five children were asked to participate in this preliminary work individually. The results demonstrated that there was a link between children's singing voice and their use of gesture by observing the Dalcrozian mirror and follow games. The functions of gestures could be defined as being for focus, guidance, support, good intonation and sensation. In addition, some specific teaching techniques were required for achieving a more effective gesture and a more successful sound. Gesture techniques helped the children to improve their vocal techniques and correct their vocal faults. This study opened the field for the full study of gesture in aiding children's singing.

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The use of gesture techniques in children's singing

unity underlying phenomenal appearances needs to be tested in the ancient Indian context. My inclination is that the answer may be found in the Mahābhārata – though considerably later than the oldest Upaniṣads – because there money seems not to be often distinguished from more general senses of wealth, and yet the ātman theory is accepted as a given. This may reflect its ‘warrior’ concern for wealth as material goods, cattle and horses, rather than money, but it may also be a sign that the influence of monetised economies on ancient Indian ontologies has already been determined previously, and the transitional period is not reflected in later texts.

Andrew Barker

Papers

Greek Musical Writings: II: Harmonic and Acoustic Theory