Thesis (Ph. D.)--University of California, San Diego, 2007. / Vita. Discusses the composer's use of the metaphors of space and perspective in his works, IN and Headspaces, the scores for which are included in the dissertation.

The diploma thesis follows the bachelor's thesis Music and Time Perception (Becková, 2017). It focuses on time perception in music. It reviews current influential theories and models in the research of time perception, and also time perception models in relation to music, ie models based on the existence of internal time clocks and models based on attentional, memory and other dynamic processes. It also focuses on the psychological aspects of the metrum, rhythm and other musical characteristics in relation to time perception. Possible use of research findings in the field of time perception in music is also mentioned. In the experimental part I applied specific findings from the current research of time perception to short acoustic stimuli in the range of suprasecond intervals using reproduction as experimental paradigma. The filled- duration illusion, the divided time illusion and an effect of tone pitch were demonstrated. The findings from the experiment could be used in future research in the field of music and time perception. Klíčová slova: time perception, music perception, psychology of time

The diploma thesis follows the bachelor's thesis Music and Time Perception (Becková, 2017). It focuses on time perception in music. It reviews current influential theories and models in the research of time perception, and also time perception models in relation to music, ie models based on the existence of internal time clocks and models based on attentional, memory and other dynamic processes. It also focuses on the psychological aspects of the metrum, rhythm and other musical characteristics in relation to time perception. Possible use of research findings in the field of time perception in music is also mentioned. In the experimental part I applied specific findings from the current research of time perception to short acoustic stimuli in the range of suprasecond intervals using reproduction as experimental paradigma. The filled- duration illusion, the divided time illusion and an effect of tone pitch were demonstrated. The findings from the experiment could be used in future research in the field of music and time perception. Klíčová slova: time perception, music perception, psychology of time

The purpose of this study was to explore the artistic experience of music teaching artists in two contexts, performing and teaching. This study explored musical artistry through flow dimensions as an operational tool and phenomenology as an analytical lens on the four coordinates of musical experiences: time, space, play, and feeling. Through these processes, I sought to gain new insights into the experiences of teaching artists in ways that have not been previously explored. Using a newly modified flow state scale, interviews, and focus group meetings as data collection, the artistic experiences of teaching artists were represented through nine flow dimensions. Individual flow portraits were crafted to present nuances, complexity, and anecdotes about teaching artists’ experiences. The study found flow characteristics and conditions meaningful in representing the individual experiences. Each teaching artist described a complex interaction of self, subject, and others through themes of self-discovery, self-dialogues, and self-actualization. Findings revealed multiple relationships between flow dimensions and diverse perceptions of the experience of flow. These findings help to paint a broader picture of artistry and define the artistic experience as it pertains to teaching and performing. Multiple factors and new investigative questions arising from the study are discussed as well. In essence, this study brings a new critical perspective on music education by illuminating the role of a teaching artist and sharing artistic experiences as a positive and transformative tool for learning.

Zugl.: Heidelberg, Univ., Diss., 2006 u.d.T.: Herzfeld, Gregor: Prozess und Epiphanie

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This paper explores the compositional method of “temporal plane shifting” used to evoke states of suspended time in two of my compositions, Something Like Your Lagrangian Point (2019), for two pianists and two percussionists, and Nothing Never Always Sometimes Changes (2021) for alto flute/piccolo, tenor saxophone, violin, cello, and piano. Temporal plane shifting involves overlaying musical material of unrelated tempi—what I call “temporal planes”—to create an experience of time that parallels being in two different locations or states at once. I argue that this creates the feeling of “suspended time.” This paper begins with an overarching theory that, because our conceptions of time are bound with our conceptions of motion, states of entrainment are thus felt as locations in space. This argument is then expanded to explain the reasoning behind suspended time as the sensation of being in two locations at once. The rest of the paper uses the aforementioned pieces to explore how temporal planes are composed by way of instrumental juxtaposition, rhythmic juxtaposition, material limitation, and gestural repetition, and ends with a discussion of future considerations for the expansion of temporal plane composition.

This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze???s Cinema books account for such a shift in emphasis from the narrative depiction of movement through time the movement-image to a more direct experience of the temporal the time-image, and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. In this thesis, the evolution of funk will be seen to reflect the existential change experienced by a generation of African-Americans in the wake of the civil-rights movement. The funk groove associated with the music of James Brown is discussed as an aesthetic strategy that responds to the existential conditions that grew out of the often perceived failure of the civil rights movement in the 1960s. Funk provided an aesthetic strategy that allowed for the constitution of a minor temporality, involving a series of temporal negotiations that eschew more hegemonic, common sense, compositions of time and space. This has implications for the understanding of much of the popular music that has followed funk. I argue that the understanding of the emergence of funk, and of the contemporary electronic dance music styles which followed, would be enhanced by taking this ontological consideration of the experiential time of minorities into account. I will argue that funk and the electronic dance musics that followed might be seen as articulations of minority expression, where the time-image style of their musical compositions reflect the post-soul eschewing of a narratively driven, common sense view of historical time.

This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze???s Cinema books account for such a shift in emphasis from the narrative depiction of movement through time the movement-image to a more direct experience of the temporal the time-image, and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. In this thesis, the evolution of funk will be seen to reflect the existential change experienced by a generation of African-Americans in the wake of the civil-rights movement. The funk groove associated with the music of James Brown is discussed as an aesthetic strategy that responds to the existential conditions that grew out of the often perceived failure of the civil rights movement in the 1960s. Funk provided an aesthetic strategy that allowed for the constitution of a minor temporality, involving a series of temporal negotiations that eschew more hegemonic, common sense, compositions of time and space. This has implications for the understanding of much of the popular music that has followed funk. I argue that the understanding of the emergence of funk, and of the contemporary electronic dance music styles which followed, would be enhanced by taking this ontological consideration of the experiential time of minorities into account. I will argue that funk and the electronic dance musics that followed might be seen as articulations of minority expression, where the time-image style of their musical compositions reflect the post-soul eschewing of a narratively driven, common sense view of historical time.

This study uses Bergson's concepts of duration and spontaneous (now termed episodic) memory to reveal how musical material in Rachmaninoff's Prelude Op. 32 No. 10 in B Minor (1910) turns back on itself in recurring remembrances of its own past, bringing the listener out of ordinary time; a process that mirrors themes both from Rachmaninoff's life, and Arnold Böcklin's Die Heimkehr, the painting that inspired this piece. Time perception slows or even suspends when one reflects on the past, either a personal past or the historical past. Musical material in the Prelude undergoes analogous time warps. In conversation with Bergson's ideas, this study illustrates the unique temporal qualities in the musical language of the Prelude, for which standard forms of analysis fail to completely capture the essence. The overall aim is to demonstrate Rachmaninoff's idiosyncratic approach to piano writing, which many have discredited as anachronistic. This study suggests a new methodology – Bergsonian musical analysis – with which to understand the concealed innovations in Rachmaninoff's piano idiom. This study of Rachmaninoff's B Minor Prelude builds on publications concerning other Bergsonian interpretations of music in pursuing a thorough investigation of one work and its relationship with broader issues in philosophy and visual art. The result is a theoretical engagement with the Prelude that establishes a new methodology to deal with Rachmaninoff's piano idiom in general. A Bergsonian analytical technique reveals the real artistry behind Rachmaninoff's compositions – not just remnants of some past romantic idiom, but an idiosyncratic musical grappling with the nature of time and memory.