Three meanings of “information” are distinguished: “Information-as-process”; “information-as-knowledge”; and “information-as-thing,” the attributive use of “information” to denote things regarded as informative. The nature and characteristics of “information-as-thing” are discussed, using an indirect approach (“What things are informative?”). Varieties of “information-as-thing” include data, text, documents, objects, and events. On this view “information” includes but extends beyond communication. Whatever information storage and retrieval systems store and retrieve is necessarily “information-as-thing.”

These three meanings of “information,” along with “information processing,” offer a basis for classifying disparate information-related activities (e.g., rhetoric, bibliographic retrieval, statistical analysis) and, thereby, suggest a topography for “information science.” © 1991 John Wiley & Sons, Inc.

Information as Thing

Technology and applications for the rendering of virtual acoustic spaces are reviewed. Chapter 1 deals with acoustics and psychoacoustics. Chapters 2 and 3 cover cues to spatial hearing and review psychoacoustic literature. Chapter 4 covers signal processing and systems overviews of 3-D sound systems. Chapter 5 covers applications to computer workstations, communication systems, aeronautics and space, and sonic arts. Chapter 6 lists resources. This TM is a reprint of the 1994 book from Academic Press.

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3-D sound for virtual reality and multimedia

http://www.ceacb.ucl.ac.uk/cultureclub/files/CC2006-02-28_Fitch.pdf

The biology and evolution of music: A comparative perspective

Music perception and performance rely heavily on temporal processing: for instance, each event must be situated in time in relation to surrounding events, and events must be grouped together in order to overcome memory constraints. The temporal structure of music varies considerably from one culture to another, and so it has often been supposed that the specific implementation of perceptual and cognitive temporal processes will differ as a function of an individual’s cultural exposure and experience. In this paper we examine the alternative position that some temporal processes may be universal, in the sense that they function in a similar manner irrespective of an individual’s cultural exposure and experience. We first review rhythm perception and production studies carried out with adult musicians, adult nonmusicians, children, and infants in order to identify temporal processes that appear to function in a similar fashion irrespective of age, acculturation, and musical training. This review leads to the identification of five temporal processes that we submit as candidates for the status of ‘temporal universals’. For each process, we select the simplest and most representative experimental paradigm that has been used to date. This leads to a research proposal for future intercultural studies that could test the universal nature of these processes.

The Cognitive Neuroscience of Music

Musical structure is processed in “language” areas of the brain: a possible role for Brodmann Area 47 in temporal coherence

This work contains almost 30,000 articles containing over 25 million words on musicians, composers, musicologists, instruments, places, genres, terms, performance practice, concepts, acoustics and more. All the articles are written by experts in their subject. There are over 500 biographies of composers, performers and writers on music and over 1,500 articles on styles, terms, and genres. It also includes: over 500 articles on ancient music and church music over 700 articles on regions, countries and cities over 2,000 articles on instruments and their makers and performance practice over 650 articles on printing and publishing over 1,200 articles on world music over 1,000 articles on popular music, light music and jazz over 250 articles on concepts 85 articles on acoustics 126 articles on sources and a one volume index.

The New Grove Dictionary of Music and Musicians

"Janufa", "Kat'a Kabanova" and "The Cunning Little Vixen" - these are the best-known of the operas by the Czech composer Leos Janacek. This book traces the process of composition of all Janacek's operas via the use of a translated anthology of letters and other writings largely written by the composer himself. His letters offer a valuable insight into the sources of his inspiration, the day-to-day progress of composition and the practicalities of performance. These, together with letters written to Janacek by performers and collaborators, notably his translator and biographer Max Brod, make a compelling account of Janacek's life and work.

Janacek's Operas: a Documentary Account

Leos Janacek (1854-1928) is one of the few great opera composers of the twentieth century; his operas, orchestral, chamber, and vocal works are all part of the international repertory. This catalogue is by far the most comprehensive to appear in any language, with up-to-date and reliable information on all his works. Each entry provides detailed information on date of composition (and shows on what basis dating has been arrived at); source of text or programme; performing forces; duration; manuscripts and their locations; publication (a complete listing); performances and productions; dedication; literature. A special feature is the explanation of terms which may be unfamiliar to the western reader such as 'Glagolitic', 'Varyto', 'Lachian', and 'Indian Club Swinging'. This catalogue is also the first to include a complete, annotated list of the composer's varied and extensive writings.

John Tyrrell

Papers

The New Grove Dictionary of Music and Musicians

Janacek's Operas: a Documentary Account

Janácek's Works: A Catalogue of the Music and Writings of Leos Janácek

Janáček : years of a life

Janacek and the Speech-Melody Myth