Profile
| Keywords: | ethnomusicology, Arab world, West Africa, Machine Learning, Virtual Reality, Islam, Social Network Analysis, Global Health |
Michael Frishkopf, Professor of Music at the University of Alberta, is an ethnomusicologist, performer, and composer. A graduate of Yale College (BS Mathematics, 1984), Tufts University (MA Ethnomusicology, 1989), and the University of California, Los Angeles (Ph.D. Music, 1999), Dr. Frishkopf’s ethnomusicological research interests include music of the Arab world; Sufi music; sound in Islamic ritual performance; music and religion; comparative music theory; the sociology of musical taste; social network analysis; (virtual [world) music]; digital music repositories; deep learning for sound recognition and music information retrieval; music in West Africa; participatory action research; psychoacoustics and music cognition; music and global health; indigenous medicine and music as medicine for integrative health; and music for global human development and social change.
He has received numerous fellowships supporting his research, including grants from Fulbright, the American Research Center in Egypt, the Social Science Research Council, the Woodrow Wilson National Fellowship Foundation, the Killam Foundation (Canada), the National Endowment for the Humanities, and the Social Science and Humanities Research Council of Canada, supporting his extensive fieldwork in Egypt. AI4Society Funded ProjectsOutputs
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| AESTHETICS, CREATIVITY, AND MYSTICISM: AN INVESTIGATION OF THREE MODES OF CONSCIOUSNESSThis essay explores the universal nature of aesthetic, creative, and mystical experience, tracing some essential interrelations among the three. Enlarging upon the work of anthropologist Jacques Maquet, I speculate that “sensory fixedness” is both necessary and sufficient to achieve aesthetic experience, and that the unification of mind engendered by sensory fixedness is the essential source of aesthetic power. Therefore, the role of the aesthetic object (construed broadly) is either as an arbitrary sensory focusing mechanism, or as the physical embodiment of a gestalt facilitating fixedness; the first category is merely attractive, while the second contains all that is truly great in art (visual and auditory). I suggest further that as both creative inspiration and mystical experience result from fixedness, both are related to aesthetic experience. However, while aesthetic experience is rooted in sensation, mystical and creative experience, though often prepared by sensory fixedness, may transcend the sensory domain altogether toward more abstract forms of mental fixedness. University of Alberta | Publication | 2019-11-01 | | | Relaxation "sweet spot" exploration in pantophonic musical soundscape using reinforcement learning University of Aizu, Japan, University of Alberta | Publication | 2019-01-01 | | | Popular Music as Public Health Technology: Music for Global Human Development and \textquotedblleft Giving Voice to Health\textquotedblright in Liberia University of Alberta | Publication | 2017-01-01 | | | Performing arts as a social technology for community health promotion in northern Ghana University of Alberta | Publication | 2016-01-01 | Michael Frishkopf, Hasan Hamze, Mubarak Alhassan, Ibrahim Abukari Zukpeni, Sulemana Abu, David Zakus | | Narrowcasting and Multipresence for Music Auditioning and Conferencing in Social Cyberworlds University of Aizu, Japan, University of Alberta | Publication | 2015-07-01 | | | Prediction of dissimilarity judgments between tonal sequences using information theory University of Alberta | Publication | 2012-01-01 | | | Folkways in Wonderland: A Cyberworld Laboratory for Ethnomusicology University of Alberta, University of Aizu, Japan | Publication | 2011-10-01 | |
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