The Effects of Practice on Judgments of Absolute Pitch
Author : Evelyn Gough Bacon
Publisher :
Page : 112 pages
File Size : 45,46 MB
Release : 1922
Category : Absolute pitch
ISBN :
Author : Evelyn Gough Bacon
Publisher :
Page : 112 pages
File Size : 45,46 MB
Release : 1922
Category : Absolute pitch
ISBN :
Author : Evelyn Gough
Publisher :
Page : 124 pages
File Size : 20,96 MB
Release : 1922
Category : Music
ISBN :
Author : Evelyn Gough
Publisher :
Page : 93 pages
File Size : 26,88 MB
Release : 1922
Category :
ISBN :
Author : Mrs. Evelyn (Gough) Bacon
Publisher :
Page : 93 pages
File Size : 33,93 MB
Release : 1922
Category : Absolute pitch
ISBN :
Author : Mrs Evelyn (Gough) Bacon
Publisher :
Page : 102 pages
File Size : 38,36 MB
Release : 2019-03-21
Category : History
ISBN : 9781010580362
Author : Evelyn (Gough) Bacon
Publisher :
Page : 100 pages
File Size : 29,98 MB
Release : 1922
Category : Music
ISBN :
Author :
Publisher :
Page : 404 pages
File Size : 15,5 MB
Release : 1942
Category : Submarine medicine
ISBN :
Author : afterwards BACON GOUGH (Evelyn)
Publisher :
Page : pages
File Size : 24,52 MB
Release : 1922
Category :
ISBN :
Author : Diana Deutsch
Publisher : Elsevier
Page : 563 pages
File Size : 50,42 MB
Release : 2013-10-22
Category : Music
ISBN : 1483292738
Approx.542 pages
Author : Richard Parncutt
Publisher : Springer Science & Business Media
Page : 216 pages
File Size : 39,86 MB
Release : 2012-12-06
Category : Science
ISBN : 3642748317
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 Univer sity 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 conse quences 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 ap proaches appear contradictory, I try to show instead that they complement and enrich one another.