The Critical Nexus Atkinson, Charles M
2008, 2008-12-19, 2009., 2008-12-25, 2008-11-17
eBook
This book confronts an enigma of early writings on music: why chant, which was understood to be divinely inspired, needed to be altered in order to work within the then-operative modal system. To ...unravel this mystery, the book creates a broad framework that moves from Greek harmonic theory to the various stages in the transmission of Roman chant, citing numerous music treatises from the 6th to the 12th century. Out of this examination emerges the central point behind the problem: the tone system advocated by writers coming from the Greek harmonic tradition was not suited to the notation of chant and this basic incompatibility led to the creation of new theoretical constructs. By tracing the path of subsequent adaptation at the nexus of tone system, mode, and notation, the book promises insights into what mode meant to the medieval musician and how the system responded to its inherent limitations. Through an examination of the major musical treatises from the 6th through the 12th centuries, this text establishes a central dichotomy between classical harmonic theory and the practices of the Christian church. The book builds the foundation for a broad and original reinterpretation of the modal system and how it relates to melody, grammar, and notation.
This book endeavours to pinpoint the relations between musical, and especially instrumental, practice and the evolving conceptions of pitch systems. It traces the development of ancient melodic ...notation from reconstructed origins, through various adaptations necessitated by changing musical styles and newly invented instruments, to its final canonical form. It thus emerges how closely ancient harmonic theory depended on the culturally dominant instruments, the lyre and the aulos. These threads are followed down to late antiquity, when details recorded by Ptolemy permit an exceptionally clear view. Dr Hagel discusses the textual and pictorial evidence, introducing mathematical approaches wherever feasible, but also contributes to the interpretation of instruments in the archaeological record and occasionally is able to outline the general features of instruments not directly attested. The book will be indispensable to all those interested in Greek music, technology and performance culture and the general history of musicology.
This book builds on and in many ways completes the project of Fred Lerdahl and Ray Jackendoff's influential A Generative Theory of Tonal Music. Like the earlier volume, this book is both a ...music-theoretic treatise and a contribution to the cognitive science of music. After presenting some modifications to Lerdahl and Jackendoff's original framework, the book develops a quantitative model of listeners' intuitions of the relative distances of pitches, chords, and regions from a given tonic. The model is used to derive prolongational structure, trace paths through pitch space at multiple prolongational levels, and compute patterns of tonal tension and attraction as musical events unfold. The consideration of pitch-space paths illuminates issues of musical narrative, and the treatment of tonal tension and attraction provides a technical basis for studies of musical expectation and expression. These investigations lead to a fresh theory of tonal function and reveal an underlying parallel between tonal and metrical structures. Later portions of the book apply these ideas to highly chromatic tonal as well as atonal music. In response to stylistic differences, the shape of pitch space changes and psychoacoustic features become increasingly important, while underlying features of the theory remain constant, reflecting unvarying features of the musical mind. The theory is illustrated throughout by analyses of music from Bach to Schoenberg, and frequent connections are made to the music-theoretic and psychological literature.
Způsob, jak vysvětlit vznik a vývoj hudby a její význam pro člověka, lze popsat mimo jiné také pomocí nástrojů a metod genetiky či metod matematiky a geometrie. 1. Memetika hudby je odvozena z teorie ...přirozeného výběru a genetické dědičnosti, kterou poprvé vysvětlil Charles Darwin a na konci 20. století dále rozpracoval Richard Dawkins. Hlavní principy této teorie aplikované v hudbě uvádí základní kniha Stevena Jana. Je založena na myšlence, že nejmenší jednotky/tvary kulturního nebo uměleckého artefaktu jsou podobné genům a lze je nazvat „memy“. Memetické struktury hudebních skladeb závisí na třech hlavních vlastnostech „memu“ – plodnost, dlouhověkost, věrnost kopírování. Každý mem existuje, pokud se může replikovat. Důkaz jeho existence je založen na četném výskytu strukturálních prvků, které lze nalézt ve více skladbách různých skladatelů v různých stylových obdobích. Steven Jan poukázal na některé, zejména melodické memy. Naše hypotéza poukazuje na pravděpodobnost memetické podstaty v neméně důležitém hudebním parametru, kde by se memetická struktura mohla masivně replikovat – v harmonii. 2. Geometrie hudby je základem teoretické koncepce anglického hudebního teoretika Dmitrije Tymoczka. Vizualizace hudební struktury není ve své podstatě zcela nová, v hudební teorii se k vizualizaci hudebních vztahů v minulosti používaly některé geometrické objekty – jako kvintový kruh, mřížka vztahů kvintakordů, kruh diatonických tercií a funkcí a pod. Topologická vizualizace vztahů tonálních prostor na trojrozměrném útvaru toroidu je zpracována ve studii Hendrica Purwinse a dalších. Předkládaný článek se snaží vysvětlit možnosti, jak využít geometrických metod a principů při vizuální prezentaci některých hudebních vztahů a struktur, jako jsou intervaly, akordy, tonální vztahy a pod. Následně jsou prezentovány nové informace, které lze získat pomocí takových geometrických pohledů.
In Echoes of an invisible world Jacomien Prins offers an account of the transformation of the notion of Pythagorean world harmony during the Renaissance and the role of the Italian philosophers ...Marsilio Ficino (1433-1499) and Francesco Patrizi (1529-1597) in redefining the relationship between cosmic order and music theory.
Editors' Note Hilewicz, Orit; Hooper, Jason
Theory and practice,
01/2019, Letnik:
44
Journal Article
Recenzirano
Volume 44 opens with articles by Michele Duguay and Ben Baker, who both received the Patricia Carpenter Emerging Scholar Award at the 2019 Annual Meeting of the Music Theory Society of New York ...State. Shifting to contemporary jazz, Ben Baker uses a transformational approach to explore Robert Glasper's harmonic language, analyzing Glasper's music based on the ic3/4 dual interval cycle to model both root and melodic motion. By tracing the repeating and developing spatial gestures that emerge during multiple performances of Ludwig van Beethoven's String Quartet op. 131, Solomon develops a general method for representing textural and motivic relationships as virtual motions.
In comparison to the (Western) European tradition, the development of music theory in Serbia has been quite short. Milan Milovuk's works, dating from the 1860s, were the first published theoretical ...writings in Serbian. Nevertheless, this development was substantial, leading from basic music theory in Milovuk's pioneering works to an interdisciplinary field of research that is fully integrated into today's global map of the discipline. Through this expansion, the status reconfiguration of music theory in Serbia took place from propaedeutics to an autonomous scientific field. However, the transformation of the discipline was not the subject of scientific research until recently. The questions about the nature of a musical-theoretical work, on what basis and with what convictions it is carried out, what kind of knowledge it produces, and what the impact of that knowledge is can be considered an exception in music theory writings in Serbian. Likewise, the legitimisation of certain types of musical-theoretical work about the discipline as a whole or its relevant parts has only recently become represented in our scientific literature. In this article, I investigate the reasons for the indicated epistemological certainty of music theory in Serbia and study the traces of its disciplinary legitimation in both diachronic (historical-developmental) and synchronic (theoretical-conceptual and methodological-epistemological) perspectives.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
Weak signal features of early bearing faults are interfered by environmental noise, which seriously affects the accuracy of diagnosis results. Moreover, a large amount of data calculation and manual ...parameter adjustment during model training will affect the timeliness and intelligence of diagnosis results. Aiming at the above problems, an intelligent diagnosis method for motor bearing fault based on music theory knowledge novel generative adversarial networks (MTKGAN) is proposed for the first time. First, the game between generation and discrimination models is used to generate fault samples. The Earth-Mover distance is used to measure the distance between the real and generated distribution. The method generates and enhances weak signal features, and the interference of environmental noise on the signal is effectively solved to improve the accuracy of fault diagnosis. Second, inspired by music theory knowledge, the fault feature affine invariance migration method based on adaptive chord transformation strategy is proposed. The problems of Big Data training and manual parameter adjustment are effectively solved to improve the timeliness of fault diagnosis. Finally, the advantages of MTKGAN in early fault diagnosis of motor bearings are verified by comparing the public dataset and motor bearing fault experiment platform with the existing advanced methods.
The ancient science of harmonics investigates the arrangements of pitched sounds which form the basis of musical melody, and the principles which govern them. It was the most important branch of ...Greek musical theory, studied by philosophers, mathematicians and astronomers as well as by musical specialists. This 2007 book examines its development during the period when its central ideas and rival schools of thought were established, laying the foundations for the speculations of later antiquity, the Middle Ages and the Renaissance. It concentrates particularly on the theorists' methods and purposes and the controversies that their various approaches to the subject provoked. It also seeks to locate the discipline within the broader cultural environment of the period; and it investigates, sometimes with surprising results, the ways in which the theorists' work draws on and in some cases influences that of philosophers and other intellectuals.
