Browsing by Subject "613 Arts"

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  • Pareyon, Gabriel (Universidad de Guadalajara, 2010)
    This contribution deals with social and political aspects affecting cultural life in Jalisco (Mexico), during the last forty years. It is, especially, a critical view on the regional deterioration of experimental music, analysing ethnic, religion, gender and other social components in one of the culturally foremost states of Mexico.
  • Ojanen, Mikko; Suominen, Jari; Kallio, Titti; Lassfolk, Kai (Harvestworks, 2007)
    Abstract
  • Pareyon, Gabriel (Universidad Panamericana, 2007)
    The work is the most extensive encyclopedic compilation on Mexican music published to the date, in the form of a dictionary. It includes composer's bios, list of works, musical institutions, instruments, performers, theatres, and many other categories about the music of Mexico. Most of entries include bibliography.
  • Pareyon, Gabriel (Universidad de Zacatecas, 2007)
    Lecture about the teponaztli (a specific type of slit drum), traditionally used by the Aztec (or Mexica) people, and its associated repertoire. Special attention is paid to the usage of this instrument in the Cantares Mexicanos (a song compilation from the 16th century) accompaniment.
  • Pietilä, Tuulikki (Helsinki Collegium for Advanced Studies, 2009)
    COLLeGIUM : studies across disciplines in the humanities and social sciences
  • Pareyon, Gabriel (Universidad de Zacatecas, 2007)
    In Aztec mythology and religion, Xipe Totec ("our lord the flayed one") was a life-death-rebirth deity, god of agriculture, vegetation, the east, disease, spring, goldsmiths, silversmiths and the seasons. The music used for his worship has been described by a diversity of documents (carved stones, depicted codices, and chronicles made by the first European friars arrived to Mexico). This article explores the symbolic content of these descriptions, especially in association with Xochipilli Macuilxochitl, master of music and poetry.
  • Pareyon, Gabriel (Suomen semiotiikan seura : Imatran kansainvälinen semiotiikka instituutti (ISI),, 2011)
    Approaches to Musical Semiotics
    Self-similarity, a concept borrowed from mathematics, is gradually becoming a keyword in musicology. Although a polysemic term, self-similarity often refers to the multi-scalar feature repetition in a set of relationships, and it is commonly valued as an indication for musical ‘coherence’ and ‘consistency’. In this study, Gabriel Pareyon presents a theory of musical meaning formation in the context of intersemiosis, that is, the translation of meaning from one cognitive domain to another cognitive domain (e.g. from mathematics to music, or to speech or graphic forms). From this perspective, the degree of coherence of a musical system relies on a synecdochic intersemiosis: a system of related signs within other comparable and correlated systems. The author analyzes the modalities of such correlations, exploring their general and particular traits, and their operational bounds. Accordingly, the notion of analogy is used as a rich concept through its two definitions quoted by the Classical literature—proportion and paradigm, enormously valuable in establishing measurement, likeness and affinity criteria. At the same time, original arguments by Benoît B. Mandelbrot (1924–2010) are revised, alongside a systematic critique of the literature on the subject. In fact, connecting Charles S. Peirce’s ‘synechism’ with Mandelbrot’s ‘fractality’ is one of the main developments of the present study.
  • Tolonen, Mikko (2008)
  • Pareyon, Gabriel (International Summer School for Semiotic and Structural Studies, 2010)
    Ingarden (1962, 1964) postulates that artworks exist in an “Objective purely intentional” way. According to this view, objectivity and subjectivity are opposed forms of existence, parallel to the opposition between realism and idealism. Using arguments of cognitive science, experimental psychology, and semiotics, this lecture proposes that, particularly in the aesthetic phenomena, realism and idealism are not pure oppositions; rather they are aspects of a single process of cognition in different strata. Furthermore, the concept of realism can be conceived as an empirical extreme of idealism, and the concept of idealism can be conceived as a pre-operative extreme of realism. Both kind of systems of knowledge are mutually associated by a synecdoche, performing major tasks of mental order and categorisation. This contribution suggests that the supposed opposition between objectivity and subjectivity, raises, first of all, a problem of translatability, more than a problem of existential categories. Synecdoche seems to be a very basic transaction of the mind, establishing ontologies (in the more Ingardean way of the term). Wegrzecki (1994, 220) defines ontology as “the central domain of philosophy to which other its parts directly or indirectly refer”. Thus, ontology operates within philosophy as the synecdoche does within language, pointing the sense of the general into the particular and/or viceversa. The many affinities and similarities between different sign systems, like those found across the interrelationships of the arts, are embedded into a transversal, synecdochic intersemiosis. An important question, from this view, is whether Ingardean’s pure objectivities lie basically on the impossibility of translation, therefore being absolute self-referential constructions. In such a case, it would be impossible to translate pure intentionality into something else, like acts or products.
  • Pareyon, Gabriel (2005)
    A short article summarizing the most visible streams of Mexican music along the last century. Special attention is paid to the intellectual and idiosyncratic components which are considered as elements of authenticity in Mexican culture.
  • Hakola, Raimo (2009)
    Nicodemus is an enigmatic literary character who is wavering in no man's land in John's narrative between Jesus' opponents and his true disciples. Some scholars have taken Nicodemus as an example of someone of inadequate faith who remains an outsider throughout the narrative, while others have traced his development from initial and tentative faith to open and public commitment to Jesus. The present article, however, agrees with those who have acknowledged that no single trait determines Nicodemus's portrait, but, in the end, this portrait remains ambiguous. In the article, a text-centered approach to Nicodemus is complemented by asking how this ambiguous literary character may have functioned as a symbol for those who shared John's dualistic tendencies. The article draws upon the social identity approach in order to explain how Nicodemus's ambiguity may have helped the Johannine Christians to accept the uncertainties in their social environment without abandoning the stereotyped and fixed thrust in their symbolic world.
  • Pareyon, Gabriel (Aristotle University & University of Edinburgh, 2009)
    This contribution suggests that it is possible to describe the transformations of musical style in an analogous way to the transformations of style in language, and also that it can be explained how the ‘musics in contact’ behave in an analogous way to the ‘languages in contact’. According to this idea, the ‘evolution’ of styles in music and in language can be identified and studied as dynamic exchanges in ecological niches. It is suggested, also, that the idiolectic-ecolectic, and acrolectic-basilectic relationships in music and language are functions of cycles in several ‘layers’ and ‘rhythms’. The presence of stylistic varieties and influences in music and in language may imply that they are part of major sign systems within a more complex ecological relationship.
  • Tyrväinen, Helena (Georg Olms Verlag, 2010)
    Studien und Materialien zur Musikwissenschaft
  • Anttonen, Pertti Juhani (Suomalaisen Kirjallisuuden Seura, 2005)
    Studia Fennica, Folkloristica
  • Pareyon, Gabriel (2010)
    This contribution focuses on the accelerated loss of traditional sound patterning in music, parallel to the exponential loss of linguistic and cultural variety in a world increasingly 'globalized' by market policies and economic liberalization, in which scientific or technical justification plays a crucial role. As a suggestion to an alternative trend, composers and music theorists are invited to explore the world of design and patterning by grammar rules from non-dominant cultures, and to make an effort to understand their contextual usage and its transformation, in order to appreciate their symbolism and aesthetic depth. Practical examples are provided.
  • Korhonen, Anu (Cambridge University Press, 2005)