For this reason it is important to approach apparently equivalent words in other languages with caution. the word "music"), not a universal concept, is the object of scrutiny. One aspect that is important to bear in mind when examining multi-cultural associations, is that an English-language word (i.e. Harwood questions whether a "cross-cultural musical universal" may be found in the music or in the making of music, including performance, hearing, conception, and education. #Elements of music freeA pulse is sometimes taken as a universal, yet there exist solo vocal and instrumental genres with free and improvisational rhythms no regular pulse, one example being the alap section of an Indian classical music performance. For instance, the fairly common assertion that "tonality" is a universal of all music may necessarily require an expansive definition of tonality. There is disagreement about whether some aspects of music are universal, as well as whether the concept of music is universal. However Nattiez goes on to say that despite special cases where sound is not immediately obvious (because it is heard in the mind): "sound is a minimal condition of the musical fact". In this example sound, a common element, is excluded, while gesture, a less common element, is given primacy. Jean Molino points out that "any element belonging to the total musical fact can be isolated, or taken as a strategic variable of musical production." Nattiez gives as examples Mauricio Kagel's Con Voce, where a masked trio silently mimes playing instruments. This suggests that while sound is often considered a required aspect of music, it might not be. Gordon the process of reading music, at least for trained musicians, involves a process, called "inner hearing" or "audiation", where the music is heard in the mind as if it were being played. Some definitions refer to music as a score, or a composition: ) music can be read as well as heard, and a piece of music written but never played is a piece of music notwithstanding. For example: performance, social, gender, dance, and theatre.ĭoes the definition of music determine its aspects, or does the combination of certain aspects determine the definition of music? For example, intensional definitions list aspects or elements that make up their subject. Near the end of the twentieth century music scholarship began to give more attention to social and physical elements of music. Virgil Thomson lists the "raw materials" of music in order of their supposed discovery: rhythm, melody, and harmony including counterpoint and orchestration. Merriam proposed a theoretical research model that assumes three aspects are always present in musical activity: concept, behaviour, and sound. According to McClellan, two things should be considered, the quality or state of an element and its change over time. Meyer lists melody, rhythm, timbre, harmony, "and the like" as principal elements of music, while Narmour lists melody, harmony, rhythm, dynamics, tessitura, timbre, tempo, meter, texture, "and perhaps others". Gradation is gradual change within one parameter, or an overlapping of two blocks of sound. Meyer compares distinguishing parameters within a culture by their different constraints to distinguishing independent parameters within music, such as melody, harmony, timbre, "etc." The first person to apply the term parameter to music may have been Joseph Schillinger, though its relative popularity may be due to Werner Meyer-Eppler. Ī 'parameter' is any element that can be manipulated ( composed) separately from other elements or focused on separately in an educational context. They are: pitch, duration, loudness, timbre, sonic texture and spatial location. Bruner II follows the line of temporal-based deductions in association with musical composition, denoting music's primary components as "time, pitch, and texture." Most definitions of music include a reference to sound and sound perception can be divided into six cognitive processes. Harold Owen bases his list on the qualities of sound: pitch, timbre, intensity, and duration while John Castellini excludes duration. According to Howard, there is little dispute about the principal constituent elements of music, though experts differ on their precise definitions.
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