Hearing in Time: Psychological Aspects of Musical MeterOxford University Press, 3 mag 2012 - 252 pagine Our sense that a waltz is "in three" or a blues song is "in four with a shuffle" comes from our sense of musical meter. Hearing in Time explores the metric aspect of our musical experience from a psychological point of view. Musical meter is subject to a number of fundamental perceptual and cognitive constraints. These constraints are the cornerstones of Hearing in Time's account of musical meter. Hearing in Time also takes into account the fact that listening to music, like many other rhythmic activities, is something that we do a lot. It also approaches meter in the context of music as it is actually performed, with nuances of timing and dynamics, rather than as a theoretical idealization. Hearing in Time's approach to meter is not based on any particular musical style or cultural practice, and it discusses musical examples from a wide range of musical styles and cultures--from Beethoven and Bach to Brubeck and Ghanaian (Ewe) drumming. In taking this broad approach a number of fundamental similarities between a variety of different metric phenomena--such as the difference between so-called simple versus complex or additive meters - become apparent. Requiring only a modest ability to read a musical score, Hearing in Time is written for musicians, musicologists, and music theorists, as well as psychologists, linguists and cognitive scientists who are interested in rhythm and meter. |
Sommario
| 3 | |
| 9 | |
2 Relevant Research on Rhythmic Perception and Production | 25 |
3 The Neurobiology and Development of Rhythm | 48 |
Ground Rules | 65 |
5 Metric Representations and Metric WellFormedness | 77 |
Problems | 99 |
7 Metric Flux in Beethovens Fifth | 110 |
Altre edizioni - Visualizza tutto
Parole e frasi comuni
12 cycle African anacrusis articulation attentional peaks auditory beat classes beat cycle beat level Beethoven’s behavior cardinality categorically Chapter cognitive composed constraints discussed distinct downbeat duple duration durational patterns dynamic Example expressive variation four-beat give rise half-measure hear hemiola hierarchic interpolate intervals involve IOIs isochronous Lerdahl and Jackendoff listener listener’s maximal measure melody metric accent metric context metric cycle metric entrainment metric framework metric hierarchy metric levels metric pattern metric well-formedness metrical structure metrical type metrically malleable motor movement Music Theory musical surface musicians N cycle N-cycle Nketia non-isochronous notated occur œ œ œ œœœ onsets particular performance periodicities pitch classes polymeter polyrhythms possible pulse quarter note Rahn range relationships relative Repp representations rhythm rhythmic figure rhythmic patterns rhythmic surface rotations scale sense shift stimuli studies subcycle subdivision synchronization ta¯la tactus tapping tempo tempo-metrical type thresholds tion tonal tones triplet two-beat versus vestibular system