A radical transformation is taking place in today’s society with the rapid developments in digital technology. The digital dispersion of information occurs globally at an unprecedented speed, altering innumerable aspects of cultural memory to the extent that the experience of cyclical time of ritual culture is gradually replaced by the prevalence of linear time of progress and chaotic time of computerized processes. As a result, both formation and experience of meaning are changed. With that, an important question arises with regards to music: how does musical meaning transpire in contemporary culture? As a theoretical companion to my compositional work, this doctoral dissertation addresses this question from the perspective of memory. Based on the idea that musical meaning is informed through its contextualization within the manifold intersections of memory, cultural memory, and digital technology, its first three chapters explore the relationships between memory and identity, externalized memory and culture, time and meaning in music, and how these relationships can inform musical analysis. The fourth chapter provides analytical approaches to compositions by Luciano Berio, Helmut Lachenmann, John Cage, and Pierluigi Billone informed by the conclusions gained from the previous chapters. The last three chapters focus on the added complexity of the relationships between musical memory and cultural memory as impacted by digital technologies. It will be explored how digital processes affect various aspects of musical memory and musical time. Correspondingly, the final chapter offers musical analyses of compositions with live electronics by composers Brian Ferneyhough and Jonathan Harvey, and the dissertation will be concluded by an analysis of my dissertation composition #ffffff which is appended. Central to the investigation are the post-structuralist ideas of philosophers Bernard Stiegler, Jacques Derrida, Gilles Deleuze and Félix Guattari, as well as theories regarding cultural memory brought forth by Jan and Aleida Assmann. In order to apply these concepts to an examination of music, they will be reconciled with the musical philosophy of Gunnar Hindrichs, the musical semiotics of Jean-Jacques Nattiez, the cultural semiotics of Roland Posner, and the critical media studies of Wolfgang Ernst. / Graduate / 0413 / annette.mailbox@gmx.net

[pt] O presente trabalho visa investigar o impacto da demência na memória musical a partir de um referencial teórico oriundo da neurociência e das ciências sociais. Apesar de alguns estudos apontarem a música como a última habilidade cognitiva a ser perdida nos processos demenciais, há poucas pesquisas sistematizadas sobre esse tema. A investigação da relação das funções musicais e sua organização funcional cerebral aliada aos aspectos da emoção, bem como do contexto sociocultural em que o sujeito está inscrito permearam um caminho para a compreensão da memória musical. A musicoterapia configurou-se como o espaço terapêutico possível nessa trajetória em que um Eu-musical - individual ou grupal - pode ser reconstruído num tempo presente, através das diferentes sonoridades musicais. / [en] The present dissertation aims at examining the dementia impact on the musical memory through the theorical references of neuroscience and social sciences. Although some studies indicate that the musical ability is one of the latest capacities to be lost in dementia, there are few researches about this theme. The investigation of relations of musical functions and its cerebral funcional organization togheter with the aspects of emotion and social cultural context where the subject is inserted led to an attempt to understanding the musical memory. Music therapy became the possible therapeutic setting a course where a musical self - individual or group - can be reconstructed in a present time through the different musical sonorities.

We investigated age-related differences in neural activation associated with recognition of familiar melodies, a process that requires retrieval from musical semantic memory and leads to a feeling of familiarity. We used sparse sampling fMRI to determine the neural correlates of melody processing and familiarity by comparing activation when listening to melodies versus signal-correlated noise, and to familiar versus unfamiliar melodies, respectively. Overall, activity in the bilateral superior temporal gyrus correlated well with melody processing. Familiarity was associated with several frontal regions (bilateral inferior frontal gyrus, superior frontal gyrus, and precentral gyrus; left insular cortex), right superior temporal gyrus; left supramarginal gyrus and cingulate gyrus; bilateral putamen and thalamus; cerebellum and brainstem. No significant differences were found between younger and older adults for either melody processing or familiarity based activation. Assessment of familiarity-related group differences using less stringent criteria identified plausible areas; greater activation was seen bilaterally in the superior temporal gyrus in younger adults and in some left parietal regions in older adults. This study adds to the knowledge of musical semantic memory with results based on a large sample (N = 40) that includes older adults. Our findings for activation associated with melody processing and familiarity support some, but not all, previous results of related studies. We were unable to find conclusive evidence of age-related differences in neural correlates of musical semantic memory, while also being the first study (to the best of our knowledge) to search for these differences. / Thesis (Master, Neuroscience Studies) -- Queen's University, 2013-09-16 12:38:10.757

We investigated age-related differences in neural activation associated with recognition of familiar melodies, a process that requires retrieval from musical semantic memory and leads to a feeling of familiarity. We used sparse sampling fMRI to determine the neural correlates of melody processing and familiarity by comparing activation when listening to melodies versus signal-correlated noise, and to familiar versus unfamiliar melodies, respectively. Overall, activity in the bilateral superior temporal gyrus correlated well with melody processing. Familiarity was associated with several frontal regions (bilateral inferior frontal gyrus, superior frontal gyrus, and precentral gyrus; left insular cortex), right superior temporal gyrus; left supramarginal gyrus and cingulate gyrus; bilateral putamen and thalamus; cerebellum and brainstem. No significant differences were found between younger and older adults for either melody processing or familiarity based activation. Assessment of familiarity-related group differences using less stringent criteria identified plausible areas; greater activation was seen bilaterally in the superior temporal gyrus in younger adults and in some left parietal regions in older adults. This study adds to the knowledge of musical semantic memory with results based on a large sample (N = 40) that includes older adults. Our findings for activation associated with melody processing and familiarity support some, but not all, previous results of related studies. We were unable to find conclusive evidence of age-related differences in neural correlates of musical semantic memory, while also being the first study (to the best of our knowledge) to search for these differences. / Thesis (Master, Neuroscience Studies) -- Queen's University, 2013-09-16 12:38:10.757

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2014-11-13T20:41:28Z No. of bitstreams: 2 Dissertaçao - Nery André Borges de Oliveira - 2014.pdf: 19554984 bytes, checksum: 67993ab902a0fd34ee3890930ddef57f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-11-14T18:51:51Z (GMT) No. of bitstreams: 2 Dissertaçao - Nery André Borges de Oliveira - 2014.pdf: 19554984 bytes, checksum: 67993ab902a0fd34ee3890930ddef57f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-11-14T18:51:52Z (GMT). No. of bitstreams: 2 Dissertaçao - Nery André Borges de Oliveira - 2014.pdf: 19554984 bytes, checksum: 67993ab902a0fd34ee3890930ddef57f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-04-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In this research we deal with the importance of the structured musical memorization process for the memory performances. The research has a semi-experimental character since it does not have a control group, and because the author is a participant subject. The methodology used follows the principles of memorization strategies explored by authors like Roger Chaffin, Aaron Williamon, Gerald Klickstein, Stewart Gordon, Jane Ginsborg, among others. The research lies on connecting these strategies and organize them into a study plan to be accomplished. The memorization plan follows the division established by Klickstein (2009), in four stages: perception, ingraining, maintenance and recall. However, it presents modifications resulting from the dialogue with other authors. The memorization plan was implemented in the Fugue BWV 997 of J. S. Bach. The proposed goal is to verify the viability and efficiency of strategies that help the memorization on the guitar. The detailed monitoring of his memorization was listed on a study memorial that provides the results achieved in each strategy, the number of application sessions and total time of application. / Nessa pesquisa tratamos da importância do processo de memorização musical estruturado para a realização de performances de memória. A pesquisa tem caráter semi-experimental por não possuir um grupo de controle e por ter o autor como sujeito participante. A metodologia utilizada segue os princípios de estratégias de memorização explorados por autores como Roger Chaffm, Aaron Williamon, Gerald Klickstein, Stewart Gordon, Jane Ginsborg, entre outros. A pesquisa consiste em relacionar tais estratégias e organizá-las em um plano de estudos a ser cumprido. O plano de memorização segue a divisão estabelecida por Klickstein (2009), em quatro estágios: percepção, enraizamento, manutenção e recordação. Contudo, este apresenta modificações resultantes do diálogo com outros autores. O plano de memorização foi aplicado na Fuga BWV 997 de J. S. Bach O objetivo proposto é verificar a viabilidade e eficiência de estratégias que auxiliem a memorização ao violão. O acompanhamento detalhado de sua memorização foi registrado em um memorial de estudo que fornece os resultados alcançados em cada estratégia, o número de sessões de aplicação e o tempo total de aplicação.