Results for 'Music Acoustics and physics'

963 found
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  1.  42
    The role of acoustics and music theory in the scientific work of Robert Hooke.Penelope Gouk - 1980 - Annals of Science 37 (5):573-605.
    The work of Robert Hooke on acoustics and music theory is a larger subject than might seem the case from studies of his career so far available. First, there are his experiments for the Royal Society which can be defined as purely acoustical, which anticipate later experiments performed by men such as J. Sauveur and E. Chladni. Second, there are passages in many of his writings which by extensive use of musical analogy attempt to account for all physical (...)
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  2.  25
    Speech and Music Acoustics, Rhythms of the Brain and their Impact on the Ability to Accept Information.I. V. Pavlov & V. M. Tsaplev - 2020 - Дискурс 6 (1):96-105.
    Introduction. A radical tendency in modern approaches to understanding the mechanisms of the brain is the tendency of some scientists to believe that the brain is a receptor capable of capturing thoughts; the nature of the occurrence of the thoughts themselves, however, is not to be clarified. However, speech expressing thoughts is undoubtedly the result of the work of the brain, so studies of the frequency structure of speech can be the basis for considering the material structure of the brain (...)
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  3.  1
    (1 other version)Music theory and natural order from the Renaissance to the early twentieth century.Suzannah Clark & Alexander Rehding (eds.) - 2001 - New York: Cambridge University Press.
    Music theory of almost all ages has relied on nature in its attempts to explain music. The understanding of what 'nature' is, however, is subject to cultural and historical differences. In exploring ways in which music theory has represented and employed natural order since the scientific revolution, this volume asks some fundamental questions not only about nature in music theory, but also the nature of music theory. In an array of different approaches, ranging from physical (...)
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  4.  25
    British Acoustics and its Transformation from the 1860s to the 1910s.Ja Hyon Ku - 2006 - Annals of Science 63 (4):395-423.
    Summary Between the 1860s and the 1910s, British acoustics was transformed from an area of empirical research into a mathematically organized field. Musical motives—improving musical scales and temperaments, making better musical instruments, and understanding the nature of musical tones—were among the major driving forces of acoustical researchers in nineteenth-century Britain. The German acoustician, Helmholtz, had a major impact on British acousticians who also had extensive interactions with American and French acousticians. Rayleigh's acoustics, reflecting all these features, bore remarkable (...)
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  5.  11
    Yin yue yu kong jian: guan yu yin yue ying xiang ji fa zhi tan tao = Music and space: the techniques of acoustic composition.Yamin Xu - 2006 - Taibei Shi: Zhongguo wen hua da xue Huagang chu ban bu.
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  6. (1 other version)Music: a science and an art.John Redfield - 1928 - New York,: A. A. Knopf.
     
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  7.  53
    Sound Unseen: Acousmatic Sound in Theory and Practice.Brian Kane - 2014 - New York, NY: Oup Usa.
    Sound Unseen explores the phenomenon of acousmatic sound-a sound that one hears without seeing its source-and presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses.
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  8.  38
    Sonic Warfare: Sound, Affect, and the Ecology of Fear.Steve Goodman - 2009 - MIT Press.
    An exploration of the production, transmission, and mutation of affective tonality—when sound helps produce a bad vibe.
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  9. Noise in and as music.Aaron Cassidy & Aaron Einbond (eds.) - 2013 - Huddersfield: University of Huddersfield Press.
    One hundred years after Luigi Russolo's "The Art of Noises," this book exposes a cross-section of the current motivations, activities, thoughts, and reflections of composers, performers, and artists who work with noise in all of its many forms. The book's focus is the practice of noise and its relationship to music, and in particular the role of noise as musical material--as form, as sound, as notation or interface, as a medium for listening, as provocation, as data. Its contributors are (...)
     
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  10.  2
    Hindusthāni Music.Ganesh Hari Ranade - 1938 - G.H. Ranade.
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  11.  78
    The soundscape: our sonic environment and the tuning of the world.R. Murray Schafer - 1977 - [United States]: Distributed to the book trade in the United States by American International Distribution.
    Schafer contends that we suffer from an overabundance of acoustic information, and explores ways to restore our ability to hear the nuances of sounds around us.
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  12. Compendium musicæ =.René Descartes - 2022 - Hildesheim: Georg Olms Verlag. Edited by Rolf Ketteler & René Descartes.
     
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  13.  96
    The science of music.Robin Maconie - 1997 - New York: Oxford University Press.
    What do Pythagoras, Plato, Newton, and Wittgenstein have in common with Jack and the Beanstalk, David and Goliath, the Hare and the Tortoise, and Formula 1 auto racing? Hearing is the clue, and musical science the answer. In his revolutionary sequel to The Concept of Music (OUP, 1990), Robin Maconie uncovers the hidden role of musical acoustics in the formulation of key concepts of science and philosophy from ancient Greece to modern times.
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  14.  11
    Musical Beliefs: Psychoacoustic, Mythical, and Educational Perspectives.Robert Walker - 1990 - New York: Teachers College Press.
    In this book, the author argues that what constitutes music in various societies is culturally based, not the result of some universal aspect of human physical and psychological make-up. This is true not only in non-Western music cultures, but in the West as well. Contrary to popular belief among musicians and the general public, the basis of Western music and acoustics is not scientific, but superstitious. Pythagorean mathematics as it relates to harmonics does not work, a (...)
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  15.  10
    The second sense: language, music, & hearing.Robin Maconie - 2002 - Lanham, Md.: Scarecrow Press.
    A vigorous non-technical discussion of basic acoustical, auditory, and communications processes that guide and connect musical behaviors of every age. Developed as a source book for students of art and design it offers illuminating commentaries on more than 100 cd recorded items from classical and world music traditions.
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  16.  18
    Soundscapes: essays on vroom and moo.Helmi Järviluoma (ed.) - 1994 - Seinäjoki: Institute of Rhythm Music.
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  17.  77
    The concept of music.Robin Maconie - 1990 - Oxford [England]: Clarendon Press.
    What is music for? How does it work? What can it teach us? Intuitively, we feel there must be answers to such questions, but they tend to be scattered throughout a wide range of different areas of study, from acoustics to music history, from psychology to composition. In this brilliant and thought-provoking book Maconie seeks the answers to these and other fundamental questions about music, integrating music and appropriate scientific research in a new evaluation of (...)
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  18.  15
    Treatise on Acoustics: The First Comprehensive English Translation of E.F.F. Chladni's Traité d'Acoustique.E. F. F. Chladni - 2015 - Cham: Imprint: Springer.
    This is the first comprehensive translation of the expanded French version of E.F.F. Chladni's Traité d'Acoustique, using Chladni's 1802 Die Akustik for reference and clarification. Chladni's experiments and observations with sound and vibrations profoundly influenced the development of the field of Acoustics. The famous Chladni diagrams along with other observations are contained in Die Akustik, published in German in 1802 and Traité d'Acoustique, a greatly expanded version, published in French in 1809. The present translation was undertaken by Robert T. (...)
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  19.  15
    Word and Mystery: The Acoustics of Cultural Transmission During the Protestant Reformation.Braxton Boren - 2021 - Frontiers in Psychology 12.
    To a first-order approximation we can place most worship services on a continuum between clarity and mystery, depending on the setting and content of the service. This liturgical space can be thought of as a combination of the physical acoustics of the worship space and the qualities of the sound created during the worship service. A very clear acoustic channel emphasizes semantic content, especially speech intelligibility. An immersive, reverberant acoustic emphasizes mystery and music. One of the chief challenges (...)
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  20.  70
    Sound Matters: Essays on the Acoustics of Modern German Culture.Nora M. Alter & Lutz Peter Koepnick (eds.) - 2004 - Berghahn Books.
    ... composed by Herms Niel as a Durchhaltefanfare, a fanfare of perseverance, for the German troops that had been surrounded on the Crimea peninsula by ...
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  21.  34
    Le son des musiques: entre technologie et esthétique.François Delalande (ed.) - 2001 - Paris: Buchet-Chastel.
    Dans tous les univers musicaux - jazz, baroque, variétés, électro-acoustique, électronique populaire, on ne parle que du "SON"...il est devenu l'un des critères esthétiques prioritaires de la sensibilité musicale contemporaine. Il reste à savoir le décrire et l'analyser à différent niveaux : social, sémiologique, esthétique, acoustique. Ce livre ouvre la voie.
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  22. The tuning of the world: toward a theory of soundscape design.R. Murray Schafer - 1977 - Philadelphia: University of Pennsylvania Press.
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  23.  7
    Die Schallwelt in der wir leben =.Raymond Murray Schafer - 1971 - Wien: Universal Edition. Edited by R. Murray Schafer.
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  24.  39
    Spontaneous emergence of language-like and music-like vocalizations from an artificial protolanguage.Weiyi Ma, Anna Fiveash & William Forde Thompson - 2019 - Semiotica 2019 (229):1-23.
    How did human vocalizations come to acquire meaning in the evolution of our species? Charles Darwin proposed that language and music originated from a common emotional signal system based on the imitation and modification of sounds in nature. This protolanguage is thought to have diverged into two separate systems, with speech prioritizing referential functionality and music prioritizing emotional functionality. However, there has never been an attempt to empirically evaluate the hypothesis that a single communication system can split into (...)
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  25.  6
    Zur Position der Musikhörenden: Konzeptionen ästhetischer Erfahrung im Konzert.Julia H. Schröder - 2014 - Hofheim: Wolke.
  26.  34
    Joseph Sauveur: écrits sur la musique et l'acoustique.Joseph Sauveur - 2021 - Paris: Hermann Éditeurs. Edited by Franck Jedrzejewski & Athanase Papadopoulos.
    Joseph Sauveur (1653-1716) fut mathématicien, physicien et théoricien de la musique. Souvent considéré comme le fondateur de l' acoustique moderne, on lui doit les premières mesures de la fréquence absolue d'un son, une théorie mathématique du tempérament, les premières explications convaincantes des phénomènes d'harmoniques et de battements, ainsi que l'application de ses recherches aux jeux d'orgue et à d'autres instruments de musique. Ce volume réunit l'ensemble des travaux de Sauveur sur le son et la musique, ainsi qu'un manuscrit de cet (...)
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  27. Music and Noise: Same or Different? What Our Body Tells Us.Mark Reybrouck, Piotr Podlipniak & David Welch - 2019 - Frontiers in Psychology 10.
    In this article, we consider music and noise in terms of vibrational and transferable energy as well as from the evolutionary significance of the hearing system of Homo sapiens. Music and sound impinge upon our body and our mind and we can react to both either positively or negatively. Much depends, in this regard, on the frequency spectrum and the level of the sound stimuli, which may sometimes make it possible to set music apart from noise. There (...)
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  28.  9
    Tout est bruit pour qui a peur: Pour une histoire sociale du son sale.Pierre Albert Castanet - 1999 - Paris: Editions Tum/Michel de Maule.
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  29.  18
    Il Tentamen novae theoriae musicae di Leonhard Euler (Pietroburgo 1739): traduzione e introduzione.Leonhard Euler - 2010 - Torino, Italia: Accademia delle scienze di Torino. Edited by Alvise De Piero & Leonhard Euler.
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  30.  13
    Epistemologie des Hörens: Helmholtz' physiologische Grundlegung der Musiktheorie.Julia Kursell - 2018 - Paderborn, Deutschland: Wilhelm Fink.
    Die Theorie des Hörens von Hermann von Helmholtz kreist um eine offene Frage: Wie geschieht der Übergang von der physikalischen Schwingung zum wahrgenommenen Klang? Helmholtz sucht die Antwort darauf nicht nur in einer Synthese des verfügbaren Wissens der Mathematik, Physik, Physiologie und Anatomie, sondern auch in der Musikgeschichte, die er als einen hörphysiologischen Langzeitversuch auffasst. Er fügt sie in sein eigenes Experimentalsystem ein, um das Wissen vom Hören aufzudecken, das in der Musik steckt. Julia Kursell zeichnet diese Experimentalisierung der Musik (...)
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  31.  36
    The Analogy between Light and Sound in the History of Optics from the Ancient Greeks to Isaac Newton. Part 1.Olivier Darrigol - 2010 - Centaurus 52 (2):117-155.
    Analogies between hearing and seeing already existed in ancient Greek theories of perception. The present paper follows the evolution of such analogies until the rise of 17th century optics, with due regard to the diversity of their origins and nature but with particular emphasis on their bearing on the physical concepts of light and sound. Whereas the old Greek analogies were only side effects of the unifying concepts of perception, the analogies of the 17th century played an important role in (...)
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  32.  7
    Armonia celeste e dodecafonia: musica e scienza attraverso i secoli.Andrea Frova - 2006 - Milano: BUR.
  33.  19
    Music and Mathematics: From Pythagoras to Fractals.John Fauvel, Raymond Flood & Robin J. Wilson - 2006 - Oxford University Press UK.
    From Ancient Greek times, music has been seen as a mathematical art, and the relationship between mathematics and music has fascinated generations. This collection of wide ranging, comprehensive and fully-illustrated papers, authored by leading scholars, presents the link between these two subjects in a lucid manner that is suitable for students of both subjects, as well as the general reader with an interest in music. Physical, theoretical, physiological, acoustic, compositional, and analytical relationships between mathematics and music (...)
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  34.  36
    The Analogy between Light and Sound in the History of Optics from the ancient Greeks to Isaac Newton. Part 2†.Olivier Darrigol - 2010 - Centaurus 52 (3):206-257.
    Analogies between hearing and seeing already existed in ancient Greek theories of perception. The present paper follows the evolution of such analogies until the rise of 17th century optics, with due regard to the diversity of their origins and nature but with particular emphasis on their bearing on the physical concepts of light and sound. Whereas the old Greek analogies were only side effects of the unifying concepts of perception, the analogies of the 17th century played an important role in (...)
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  35.  1
    Die harmonische Grundlagen der Musik.Jens Rohwer - 1970 - Basel: Bärenreiter.
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  36.  9
    Treatise on musical objects: essays across disciplines.Pierre Schaeffer - 2017 - Oakland, California: University of California Press. Edited by Christine North & John Dack.
    The Treatise on musical objects by Pierre Schaeffer is regarded as his most important work on music and its relationship with technology. Schaeffer refers to his earlier research in musique concrète and expands this to suggest a methodology of working with sounds resulting from the recording process. Drawing on acoustics, physics, and physiology, but also philosophy and the relationship between subject and object, Schaeffer's book summarizes his theoretical and practical work in music composition. North and Dack (...)
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  37. The Physics of the Violin.Lothar Cremer - 1984 - MIT Press.
    This major work covers almost all that has been learned about the acoustics of stringed instruments from Helmholtz's 19th-century theoretical elaborations to recent electroacoustic and holographic measurements.Many of the results presented here were uncovered by the author himself over a 20-year period of research on the physics of instruments in the violin family. Lothar Cremer is one of the world's most respected authorities on architectural acoustics and, not incidentally, an avid avocational violinist and violist.The book - which (...)
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  38.  8
    Akustische Rückkopplung: zur Geschichte und Struktur eines stilbildenden Effekts zeitgenössischer Musik ; ein Essay.Uwe Breitenborn - 2009 - Berlin: Arkadien-Verlag.
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  39. "Arkhitektura. zvuk. muzyka": k 150-letii︠u︡ Moskovskoĭ konservatorii im. P. I. Chaikovskogo.N. M. Rumi︠a︡nt︠s︡eva (ed.) - 2016 - Moskva: Nikitskiĭ klub.
     
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  40.  8
    Das musikalische Anagramm: Elemente der Musik.Karl Bayer - 1976 - Lübeck: Verlag Karl Bayer.
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  41.  39
    Acoustic and Categorical Dissimilarity of Musical Timbre: Evidence from Asymmetries Between Acoustic and Chimeric Sounds.Kai Siedenburg, Kiray Jones-Mollerup & Stephen McAdams - 2015 - Frontiers in Psychology 6.
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  42.  9
    Il suono filosofale: musica e alchimia.Bruno Cerchio - 1993 - Lucca: LIM.
  43.  9
    Mimetische Zeremonien: Musik als Spiel, Ritual, Kunst.Hanns-Werner Heister (ed.) - 2007 - Berlin: Weidler.
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  44. Drevo muzyki.G. A. Orlov - 1992 - Sankt-Peterburg: "Sov. kompozitor".
     
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  45.  7
    Éléments pour une métaphysique de la musique.Jacques Atlan - 2013 - Toulon: Les Presses du Midi.
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  46.  2
    Tonkunst und bildende Kunst vom Standpunkte des Naturforschers: Parallelen und Kontraste.Felix Auerbach - 1924 - Jena: G. Fischer.
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  47.  7
    Tonkunst und bildende Kunst vom Standpunkte des Naturforschers.Felix Auerbach - 1924 - Jena: G. Fischer.
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  48.  11
    Il riscatto del suono.Bernardo Pieri & Alessandra Anceschi (eds.) - 2011 - Lavis: La finestra.
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  49.  6
    Consonanza e dissonanza: teoria armonica e percezione musicale.Nicola Di Stefano - 2016 - Roma: Carocci editore.
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  50. (1 other version)Echoes of Past and Present.Matthew Crippen & Matthew Dixon - 2019 - In Randall E. Auxier & Megan A. Volpert (eds.), Tom Petty and Philosophy: We Need to Know. Chicago, Illinois: Open Court Publishing. pp. 16-25.
    The album Echo was produced in a depressed, drug-riddled phase when Tom Petty’s first marriage was ending and his physical condition so degraded that he took to using a cane. Petty filmed no videos, avoided playing the album’s songs on the follow-up tour and reported little memory of its making. The thoughtfulness and self-reflection that traumatic circumstances spur distinguish the album. So too does the tendency to look backwards in times of crisis, whether in hopes of finding solidity in the (...)
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