Abstract
Studying music in outer space entails perceiving music in two prevailing perspectives: treating music as a form of artistic expression and as a means of communication (although this is not a uniquely human phenomenon as many animal species use sounds for interacting).The first understanding of music as a form of art is also deeply immersed in futurologist speculations concerning the expansion of music and is based on contemporary trends reflecting the musicological state of the art. The second outlook (connected with tendencies to rethink the process of musical signification)396 directly refers to the historical attempts to answer the basic question: what is music and why, as well as consequently how, music — understood as a communication tool — could be employed as a universal language system in space exploration. This perspective corresponds with musicological assumptions of researching the past development of musical styles rooted in methodological practices established in the 19th century historically oriented discipline initially called Musikwissenschaft.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
References
Feld, Steven. “Communication, Music, and Speech about Music.” Yearbook for Traditional Music 16 (1984): 1–18.
Dale, Ralph Alan. “The Future of Music: An Investigation into the Evolution of Forms.” The Journal of Aesthetics and Art Criticism 26.4 (1968): 477–488. 477.
Ibid.
Risset, Jean-Claude. “Computing Musical Sound.” Mathematics and Music. A Diderot Mathematical Forum. Eds. Gerard Assayag, Hans Georg Feichtinger, and Jose Francisco Rodrigues. Berlin-New York: Springer, 2002.
Wilson, Stephen. Information Arts: Intersection of Art, Science, and Technology. Cambridge, MA: The MIT Press, 2001.
Miranda, Eduardo R. and Tikhanoff, Vadim. “Musical Composition by an Autonomous Robot: An Approach to AIBO Interaction.” Proceedings of TAROS 2005 — Towards Autonomous Robotic Systems, 12–14 September, 2005, London, UK. Plymouth: Faculty of Technology, University of Plymouth. 19 June 2009. http://cmr.soc.plymouth.ac.uk/publications/MirandaTikhanoff_robot_music.pdf.
Jones, Daniel, Tim Hogson, Jane Grant, John Matthias, Nicholas Outram, and Nick Ryan. “The Fragmented Orchestra.” Proceedings of the 9th International Conference on New Instruments for Musical Expression (NIME’09). 4–9 June 2009, Pittsburgh, PI, USA. 25 Aug. 2009. http://cmr.soc.plymouth.ac.uk/publications/NIME_09.pdf.
Miranda, Eduardo R. and Drouet, E. “Evolution of Musical Lexicons by Singing Robots.” Proceedings of TAROS 2006 Conference — Towards Autonomous Robotic Systems, 4–6 September 2006, Surrey University, Gilford (UK). 25 Aug. 2009. http://cmr.soc.plymouth.ac.uk/publications/Miranda_TAROS06.pdf.
Miranda, Eduardo Reck. “On the evolution of music in a society of self-taught digital creatures.” Digital Creativity 14.1 (2003): 29–42.
Coutinho, Eduardo, Marcelo Gimenes, Joao M. Martins, and Miranda, Eduardo Reck. “Computational Musicology: An Artificial Life Approach.” Plymouth: School of Computing, Communications & Electronics University of Plymouth. 26 Aug. 2009. http://cmr.soc.plymouth.ac.uk/publications/ComputationalMusicology.pdf.
Seeger, Charles. “Music as a Tradition of Communication Discipline and Play.” Ethnomusicology 6.3 (1962): 156–163.
Schetsche, Michael T. “Encounters among the stars — Exosociological consideration.” (in this volume).
Music and Mathematics, from Pythagoras to Fractals. Eds. John Fauvel, Raymond Flood and Robin Wilson. Oxford, New York: Oxford University Press, 2003.
Portnoy, Julius. The Philosopher and Music. A Historical Outline. New York: Da Capo Press, 1980: 148.
Gajewski, Boleslas. “Grammar of Soleresol or the Universal Language of François Sudre.” 27 Aug. 2009. http://mozai.com/writing/not_mine/solresol/.
for example Führer durch den Konzertsaal (Guide through the concert hall) by Herman Kretzschmar (1848-1924).
Heinrich Schenker. Free composition. New York: Longman, 1979.
Rom Harré. “Is there a semantics for music.” The Interpretation of music: philosophical essays. Ed. Michael Krausz. Oxford: Clarendon Press, 1993: 103–121.
Eero Tarasti. A theory of musical semiotics. Bloomington: Indiana University Press, 1994.
Leonard B. Meyer. Style and music: theory, history, and ideology. Philadelphia: University of Pennsylvania Press, 1989.
Mathieses, Thomas J. “Greek Music Theory.” The Cambridge History of Western Music Theory. Ed. Thomas Christensen. Cambridge: Cambridge University Press, 2004: 109–135.
Herlinger, Jan. “Medieval Canonics.” The Cambridge History of Western Music Theory. Ed. Thomas Christensen. Cambridge: Cambridge University Press, 2004: 168–192.
Ibid. 169.
Enrico Fubini. History of music aesthetics. Translated by Michael Hatwell. London: Macmillan, 1990: 72–76.
Gouk, Penelope. “Role of Harmonics in the Scientific Revolution.” The Cambridge History of Western Music Theory. Ed. Thomas Christensen. Cambridge: Cambridge University Press, 2004: 223–242. 229.
Ibid. 233.
Ibid.
Editor information
Rights and permissions
Copyright information
© 2011 Springer-Verlag/Wien
About this chapter
Cite this chapter
Piotrowska, A.G. (2011). Music and the outer space — the Means of universal communication or a form of art?. In: Landfester, U., Remuss, NL., Schrogl, KU., Worms, JC. (eds) Humans in Outer Space — Interdisciplinary Perspectives. Studies in Space Policy, vol 5. Springer, Vienna. https://doi.org/10.1007/978-3-7091-0280-0_13
Download citation
DOI: https://doi.org/10.1007/978-3-7091-0280-0_13
Publisher Name: Springer, Vienna
Print ISBN: 978-3-7091-0279-4
Online ISBN: 978-3-7091-0280-0
eBook Packages: EngineeringEngineering (R0)