BEGIN:VCALENDAR VERSION:2.0 PRODID:-//132.216.98.100//NONSGML kigkonsult.se iCalcreator 2.20.4// BEGIN:VEVENT UID:20260602T175014EDT-7605gcLzXr@132.216.98.100 DTSTAMP:20260602T215014Z DESCRIPTION:The Doctoral Colloquium is open to all.\n\nDoctoral Colloquium:  Tobias Tschiedl\n\n\n Find out more about attending events at Schulich\n\n \n Title: Motion\, Embodiment\, and Temporality in Music Theory: A case stu dy of 1980s Contour Theory in the context of the Computational Theory of M ind.\n\n  \n\n Abstract:\n\n Music theory's multifarious formalisms (e.g. Bab bitt 1960\, Forte 1973\, Lewin 1987\, Tymoczko 2011) have sparked frequent critiques and reflections on the disciplinary outlook of music theory (Ke rman 1980\, McCreless 1997\, Korsyn 2003). More recently\, scholars have i ntroduced increasing nuance through examinations of the historical backgro unds of such thinking\, drawing on information theory\, computer science a nd analytical philosophy (Kane 2011\, Girard 2007\, Schuijer 2008\, Gleaso n 2013\, Bernstein 2021). Bell (2019) crucially singles out the 'computati onal attitude' in music theory\, underpinned by an (implicit) 'computation al theory of mind' (Rescorla 2020\; Fodor 1975).\n\n However\, given the sc ant explicit declarations of such an attitude among music theorists\, it m ay be more accurate to speak of a computational paradigm (Kuhn 1970)\, est ablished well beyond the disciplinary confines of music theory and thus no t requiring immediate justification. I claim that this computational parad igm underpins formalist post-tonal music theory since around 1960\, and li es at the heart of its characteristic difficulties with temporality and em bodiment.\n\n For demonstration\, I turn to a case study of contour theory (focusing in particular on the contributions of Morris\, Marvin and Quinn) to show how the chosen kinds of representation influence the theorizing o f time and motion. In my reading\, the computational theory of mind nudges these scholars toward an elision of temporality from analysis: First\, in the conception of melody as an atemporal shape rather than a motion in ti me\, evidenced in Morris's (1987) definition of contour in terms of a c[on tour]-space\; second\, in the assumption that abstract relations between s ymbolic representations are simply coextensive with the objects of percept ion: In Marvin's (1987) words\, that one can 'perceive [rather than merely think] equivalences.'\n\n This allowed formal machinery ultimately derived from twelve-tone theory to function as a model of music perception\; simu ltaneously\, it resulted in limiting the role of perception to pure contem plation and recognition of discrete score-objects\, well suited to a conse rvatory culture focussed on remembrance rather than discovery\, but ill eq uipped to address challenges from embodied and ecological psychologies\, o r to account for the role of time in music perception.\n \n\n \n Biography:\n \n Tobias Tschiedl is a Ph.D. candidate in Music Theory at 91. He has p reviously studied musicology and music theory in Vienna. His research focu ses on musics of the 20th/21st century\, both “popular” and “avant-garde”\ ; epistemologies of music theory\; computer-assisted music analysis\; and musical temporality\, embodiment\, and motion.\n\n His dissertation engages with the commonly held intuition that music has something to do with (phy sical) motion over time: It critiques available music-analytical tools as only  inadequately accounting for that intuition\, and in response attempt s to devise new tools that explicitly borrow from physical models.\n \n \n\n  \n\n DTSTART:20230324T203000Z DTEND:20230324T223000Z LOCATION:C-201\, Strathcona Music Building\, CA\, QC\, Montreal\, H3A 1E3\, 555 rue Sherbrooke Ouest SUMMARY:Doctoral Colloquium (Music) | Tobias Tschiedl URL:/music/channels/event/doctoral-colloquium-music-to bias-tschiedl-347101 END:VEVENT END:VCALENDAR