Historically, music was long classified as both art and science. Aspects of music—from the mathematics of tuning to the music of the celestial spheres—were primarily studied as science until the seventeenth century. In the nineteenth century, although scientists were less interested in the music of the spheres than the natural philosophers of earlier centuries, they remained committed to understanding the world of performing musicians and their instruments.
We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social relationships are strongly influenced by the way that space changes sound. In Spaces Speak, Are You Listening?, Barry Blesser and Linda-Ruth Salter examine auditory spatial awareness: experiencing space by attentive listening.
Early Western music and the art music of the non-Western world both lack highly specified, standardized systems of notation. A serious impediment to the systematic study of early and non-Western music arises when a repertory has no extensive notational system, or multiple, non-standardized ones. In different ways, these conditions pertain to medieval and Renaissance music in the West, and to the art music of Asia, which has traditionally depended on oral tradition rather than notation.
The psychological theory of expectation that David Huron proposes in Sweet Anticipation grew out of the author's experimental efforts to understand how music evokes emotions. These efforts evolved into a general theory of expectation that will prove informative to readers interested in cognitive science and evolutionary psychology as well as those interested in music. The book describes a set of psychological mechanisms and illustrates how these mechanisms work in the case of music. All examples of notated music can be heard on the Web.
In this original and provocative study of computational creativity in music, David Cope asks whether computer programs can effectively model creativity—and whether computer programs themselves can create. Defining musical creativity, and distinguishing it from creativity in other arts, Cope presents a series of experimental models that illustrate salient features of musical creativity. He makes the case that musical creativity results from a process that he calls inductive association, and he contends that such a computational process can in fact produce music creatively.
In the 1960s, rock and pop music recording questioned the convention that recordings should recreate the illusion of a concert hall setting. The Wall of Sound that Phil Spector built behind various artists and the intricate eclecticism of George Martin's recordings of the Beatles did not resemble live performances -- in the Albert Hall or elsewhere -- but instead created a new sonic world.
NSK is considered by many to be the last true avant-garde of the twentieth century and the most consistently challenging artistic force in Eastern Europe today. The acronym refers to Neue Slowenische Kunst, a Slovene collective that emerged in the wake of Tito's death and was shaped by the breakup of Yugoslavia. Its complex and disturbing work—in fields including experimental music and theater, painting, philosophy, writing, performance, and design—has an international following but a powerful and specific cultural context.
The field of music query has grown from tentative beginnings in bibliographical systems of earlier decades to a substantial area of interdisciplinary studies in little more than a decade. This volume assembles recent studies from Europe and North America concerned with the query and analysis of musical data. Among these, methods for the synchronization of sound and symbolic data, for automatic analysis through perceptual rules, and for computing a "transportation" distance for thematic comparison are described.
Below the level of the musical note lies the realm of microsound, of sound particles lasting less than one-tenth of a second. Recent technological advances allow us to probe and manipulate these pinpoints of sound, dissolving the traditional building blocks of music -- notes and their intervals -- into a more fluid and supple medium. The sensations of point, pulse (series of points), line (tone), and surface (texture) emerge as particle density increases. Sounds coalesce, evaporate, and mutate into other sounds.Composers have used theories of microsound in computer music since the 1950s.
In this book, David Temperley addresses a fundamental question about music cognition: how do we extract basic kinds of musical information, such as meter, phrase structure, counterpoint, pitch spelling, harmony, and key from music as we hear it? Taking a computational approach, Temperley develops models for generating these aspects of musical structure. The models he proposes are based on preference rules, which are criteria for evaluating a possible structural analysis of a piece of music.