Harmony: A Psychoacoustical Approach:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Berlin, Heidelberg
Springer Berlin Heidelberg
1989
|
| Schriftenreihe: | Springer Series in Information Sciences
19 |
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Beschreibung: | My first encounter with the theory of harmony was during my last year at school (1975). This fascinating system of rules crystallized the intuitive knowledge of harmony I had acquired from years of piano playing, and facilitated memorization, transcription, arrangement and composition. For the next five years, I studied music (piano) and science (Physics) at the University of Melbourne. This "strange combination" started me wondering about the origins of those music theory "rules". To what extent were they determined or influenced by physics? mathematics? physiology? conditioning? In 1981, the supervisor of my honours project in musical acoustics, Neville Fletcher, showed me an article entitled "Pitch, consonance, and harmony", by a certain Ernst Terhardt of the Technical University of Munich. By that stage, I had devoured a considerable amount of (largely unsatisfactory) material on the nature and origins of harmony, which enabled me to recognize the significance of Terhardt's article. But it was not until I arrived in Munich the following year (on Terhardt's invitation) that I began to appreciate the consequences of his "psychoacoustical" approach for the theory of harmony. That is what this book is about. The book presents Terhardt's work against the broad context of music perception research, past and present. Music perception is a multidisciplinary mixture of physics, psychology and music. Where different theoretical approaches appear contradictory, I try to show instead that they complement and enrich one another |
| Beschreibung: | 1 Online-Ressource (XII, 212p. 22 illus) |
| ISBN: | 9783642748318 9783642748332 |
| ISSN: | 0720-678X |
| DOI: | 10.1007/978-3-642-74831-8 |
Internformat
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| 500 | |a My first encounter with the theory of harmony was during my last year at school (1975). This fascinating system of rules crystallized the intuitive knowledge of harmony I had acquired from years of piano playing, and facilitated memorization, transcription, arrangement and composition. For the next five years, I studied music (piano) and science (Physics) at the University of Melbourne. This "strange combination" started me wondering about the origins of those music theory "rules". To what extent were they determined or influenced by physics? mathematics? physiology? conditioning? In 1981, the supervisor of my honours project in musical acoustics, Neville Fletcher, showed me an article entitled "Pitch, consonance, and harmony", by a certain Ernst Terhardt of the Technical University of Munich. By that stage, I had devoured a considerable amount of (largely unsatisfactory) material on the nature and origins of harmony, which enabled me to recognize the significance of Terhardt's article. But it was not until I arrived in Munich the following year (on Terhardt's invitation) that I began to appreciate the consequences of his "psychoacoustical" approach for the theory of harmony. That is what this book is about. The book presents Terhardt's work against the broad context of music perception research, past and present. Music perception is a multidisciplinary mixture of physics, psychology and music. Where different theoretical approaches appear contradictory, I try to show instead that they complement and enrich one another | ||
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Datensatz im Suchindex
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| author | Parncutt, Richard |
| author_facet | Parncutt, Richard |
| author_role | aut |
| author_sort | Parncutt, Richard |
| author_variant | r p rp |
| building | Verbundindex |
| bvnumber | BV042413538 |
| classification_tum | PHY 000 |
| collection | ZDB-2-PHA ZDB-2-BAE |
| ctrlnum | (OCoLC)863805113 (DE-599)BVBBV042413538 |
| dewey-full | 534 |
| dewey-hundreds | 500 - Natural sciences and mathematics |
| dewey-ones | 534 - Sound and related vibrations |
| dewey-raw | 534 |
| dewey-search | 534 |
| dewey-sort | 3534 |
| dewey-tens | 530 - Physics |
| discipline | Physik |
| doi_str_mv | 10.1007/978-3-642-74831-8 |
| format | Electronic eBook |
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| id | DE-604.BV042413538 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T01:20:53Z |
| institution | BVB |
| isbn | 9783642748318 9783642748332 |
| issn | 0720-678X |
| language | English |
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| physical | 1 Online-Ressource (XII, 212p. 22 illus) |
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| publishDate | 1989 |
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| series | Springer Series in Information Sciences |
| series2 | Springer Series in Information Sciences |
| spelling | Parncutt, Richard Verfasser aut Harmony: A Psychoacoustical Approach by Richard Parncutt Berlin, Heidelberg Springer Berlin Heidelberg 1989 1 Online-Ressource (XII, 212p. 22 illus) txt rdacontent c rdamedia cr rdacarrier Springer Series in Information Sciences 19 0720-678X My first encounter with the theory of harmony was during my last year at school (1975). This fascinating system of rules crystallized the intuitive knowledge of harmony I had acquired from years of piano playing, and facilitated memorization, transcription, arrangement and composition. For the next five years, I studied music (piano) and science (Physics) at the University of Melbourne. This "strange combination" started me wondering about the origins of those music theory "rules". To what extent were they determined or influenced by physics? mathematics? physiology? conditioning? In 1981, the supervisor of my honours project in musical acoustics, Neville Fletcher, showed me an article entitled "Pitch, consonance, and harmony", by a certain Ernst Terhardt of the Technical University of Munich. By that stage, I had devoured a considerable amount of (largely unsatisfactory) material on the nature and origins of harmony, which enabled me to recognize the significance of Terhardt's article. But it was not until I arrived in Munich the following year (on Terhardt's invitation) that I began to appreciate the consequences of his "psychoacoustical" approach for the theory of harmony. That is what this book is about. The book presents Terhardt's work against the broad context of music perception research, past and present. Music perception is a multidisciplinary mixture of physics, psychology and music. Where different theoretical approaches appear contradictory, I try to show instead that they complement and enrich one another Physics Acoustics Harmonie Musik (DE-588)4023447-2 gnd rswk-swf Harmonie (DE-588)4127802-1 gnd rswk-swf Psychoakustik (DE-588)4176198-4 gnd rswk-swf Harmonie (DE-588)4127802-1 s Psychoakustik (DE-588)4176198-4 s 1\p DE-604 Harmonie Musik (DE-588)4023447-2 s 2\p DE-604 Springer Series in Information Sciences 19 (DE-604)BV000008063 19 https://doi.org/10.1007/978-3-642-74831-8 Verlag Volltext 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Parncutt, Richard Harmony: A Psychoacoustical Approach Springer Series in Information Sciences Physics Acoustics Harmonie Musik (DE-588)4023447-2 gnd Harmonie (DE-588)4127802-1 gnd Psychoakustik (DE-588)4176198-4 gnd |
| subject_GND | (DE-588)4023447-2 (DE-588)4127802-1 (DE-588)4176198-4 |
| title | Harmony: A Psychoacoustical Approach |
| title_auth | Harmony: A Psychoacoustical Approach |
| title_exact_search | Harmony: A Psychoacoustical Approach |
| title_full | Harmony: A Psychoacoustical Approach by Richard Parncutt |
| title_fullStr | Harmony: A Psychoacoustical Approach by Richard Parncutt |
| title_full_unstemmed | Harmony: A Psychoacoustical Approach by Richard Parncutt |
| title_short | Harmony: A Psychoacoustical Approach |
| title_sort | harmony a psychoacoustical approach |
| topic | Physics Acoustics Harmonie Musik (DE-588)4023447-2 gnd Harmonie (DE-588)4127802-1 gnd Psychoakustik (DE-588)4176198-4 gnd |
| topic_facet | Physics Acoustics Harmonie Musik Harmonie Psychoakustik |
| url | https://doi.org/10.1007/978-3-642-74831-8 |
| volume_link | (DE-604)BV000008063 |
| work_keys_str_mv | AT parncuttrichard harmonyapsychoacousticalapproach |