Benjamin Boretz. Meta-variations: Studies in the foundations of musical thought (I). Perspectives of new music, vol. 8 no. 1 (1969), pp. 1–74. - 
            Benjamin Boretz. Sketch of a musical system (Meta-variations, Part II). Perspectives of new music, vol. 8 no. 2(1970), pp. 49–111. - 
            Benjamin Boretz. The construction of musical syntax (I). Perspectives of new music, vol. 9 no. 1 (1970), pp. 23–42. - 
            Richard M. Martin. On the proto-theory of musical structure. Perspectives of new music, pp. 68–73. - 
            Benjamin Boretz. Musical syntax (II). Perspectives of new music, vol. 10 no. 1 (1971), pp. 232–270.

Richard Sharvy

doi:10.2307/2271782

Benjamin Boretz. Meta-variations: Studies in the foundations of musical thought (I). Perspectives of new music, vol. 8 no. 1 (1969), pp. 1–74. - Benjamin Boretz. Sketch of a musical system (Meta-variations, Part II). Perspectives of new music, vol. 8 no. 2(1970), pp. 49–111. - Benjamin Boretz. The construction of musical syntax (I). Perspectives of new music, vol. 9 no. 1 (1970), pp. 23–42. - Richard M. Martin. On the proto-theory of musical structure. Perspectives of new music, pp. 68–73. - Benjamin Boretz. Musical syntax (II). Perspectives of new music, vol. 10 no. 1 (1971), pp. 232–270.

Journal of Symbolic Logic ◽

10.2307/2271782 ◽

1975 ◽

Vol 40 (4) ◽

pp. 577-578

Author(s):

Richard Sharvy

Keyword(s):

New Music ◽

Musical Structure ◽

Musical Thought ◽

Musical Syntax

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Space oddity: musical syntax is mapped onto visual space

Scientific Reports ◽

10.1038/s41598-021-01393-1 ◽

2021 ◽

Vol 11 (1) ◽

Author(s):

Neta B. Maimon ◽

Dominique Lamy ◽

Zohar Eitan

Keyword(s):

Spatial Perception ◽

Physical Space ◽

Visual Space ◽

Lateral Position ◽

Vertical Position ◽

Musical Structure ◽

Spatial Metaphors ◽

Musical Syntax ◽

Musical Discourse ◽

New Type

AbstractIncreasing evidence has uncovered associations between the cognition of abstract schemas and spatial perception. Here we examine such associations for Western musical syntax, tonality. Spatial metaphors are ubiquitous when describing tonality: stable, closural tones are considered to be spatially central and, as gravitational foci, spatially lower. We investigated whether listeners, musicians and nonmusicians, indeed associate tonal relationships with visuospatial dimensions, including spatial height, centrality, laterality, and size, implicitly or explicitly, and whether such mappings are consistent with established metaphors. In the explicit paradigm, participants heard a tonality-establishing prime followed by a probe tone and coupled each probe with a subjectively appropriate location (Exp.1) or size (Exp.4). The implicit paradigm used a version of the Implicit Association Test to examine associations of tonal stability with vertical position (Exp.2), lateral position (Exp3) and size (Exp.5). Tonal stability was indeed associated with perceived physical space: the spatial distances between the locations associated with different scale-degrees significantly correlated with the tonal stability differences between these scale-degrees. However, inconsistently with musical discourse, stable tones were associated with leftward (instead of central) and higher (instead of lower) spatial positions. We speculate that these mappings are influenced by emotion, embodying the “good is up” metaphor, and by the spatial structure of music keyboards. Taken together, the results demonstrate a new type of cross-modal correspondence and a hitherto under-researched connotative function of musical structure. Importantly, the results suggest that the spatial mappings of an abstract domain may be independent of the spatial metaphors used to describe that domain.

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A Psychocultural Theory of Musical Interval

Music Perception An Interdisciplinary Journal ◽

10.1525/mp.2018.35.4.475 ◽

2018 ◽

Vol 35 (4) ◽

pp. 475-501 ◽

Cited By ~ 8

Author(s):

Richard Parncutt ◽

Graham Hair

Keyword(s):

Oral Traditions ◽

Harmonic Series ◽

Musical Structure ◽

Twelve Tone ◽

Musical Thought ◽

Brain Mechanism ◽

Large Numbers ◽

Equal Temperament ◽

Voiced Speech ◽

Structure Perception

The Pythagoreans linked musical intervals with integer ratios, cosmic order, and the human soul. The empirical approach of Aristoxenus, based on real musicians making real music, was neglected. Today, many music scholars and researchers still conceptualize intervals as ratios. We argue that this idea is fundamentally incorrect and present convergent evidence against it. There is no internally consistent “Just” scale: a 6th scale degree that is 5:3 above the 1st is not a perfect 5th (3:2) above the 2nd (9:8). Pythagorean tuning solves this problem, but creates another: ratios of psychologically implausible large numbers. Performers do not switch between two ratios of one interval (e.g., 5:4 and 81:64 for the major third), modern studies of performance intonation show no consistent preferences for specific ratios, and no known brain mechanism is sensitive to ratios in musical contexts. Moreover, physical frequency and perceived pitch are not the same. Rameau and Helmholtz derived musical intervals from the harmonic series, which is audible in everyday sounds including voiced speech; but those intervals, like musical intervals, are perceived categorically. Musical intervals and scales, although they depend in part on acoustic factors, are primarily psychocultural entities—not mathematical or physical. Intervals are historically and culturally variable distances that are learned from oral traditions. There is no perfect tuning for any interval; even octaves are stretched relative to 2:1. Twelve-tone equal temperament is not intrinsically better or worse than Just or Pythagorean. Ratio theory is an important chapter in the history Western musical thought, but it is inconsistent with a modern evidence-based understanding of musical structure, perception and cognition.

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PROSES PENCIPTAAN MUSIK SUARA SINDHEN: INTERPRETASI GENDHING GINONJING KARYA NUR HANDAYANI

Gelar : Jurnal Seni Budaya ◽

10.33153/glr.v16i1.2344 ◽

2019 ◽

Vol 16 (1) ◽

Author(s):

Nur Handayani

Keyword(s):

Music Composition ◽

New Music ◽

Materials Processing ◽

Packaging Materials ◽

Musical Thought ◽

Surround Sound ◽

The Third ◽

Central Java ◽

Musical Concepts ◽

Spatial Aspect

ABSTRAK Karya “Suara Sindhen: Interpretasi Gendhing Ginonjing”, dilatarbelakangi oleh hasil olah pikir sekaligus interpretasi atas Gendhing Ginonjing. Bermula saat pengkarya membaca surat Kartini yang berkisah tentang Gendhing Ginonjing. Kegelisahan Kartini sepurnanya mendengarkan Gendhing Ginonjing, dituangkan lewat surat tersebut dengan sangat dramatis. Esensi surat tersebut, memberikan stimulan kepada pengkarya untuk membuat karya berdasarkan Gendhing Ginonjing. Jika Kartini dapat menuangkan kembali Gendhing Ginonjing secara sastrawi melalui suratnya, pengkarya sebagai pesindhen juga ingin mengungkapkan ulang Gendhing Ginonjing melalui olah pikir musikal dan diwujudkan dengan karya seni orkestrasi sindhen. Dari hasil pengamatan dan analisis, Gendhing Ginonjing dapat dipilah menjadi tiga konsep musikal. Pertama adalah andegan sindhenan Gendhing Ginonjing yang dikembangkan melibatkan wangsalan, abon-abon, parikan, senggakan, serta sekar bebas sebagai unsur teks. Dari unsur lagu, menyajikan perbenturan harmoni adumanis, salahnggumun, kempyung, pendawan, serta gembyang sehingga menciptakan harmoni unik atau nada yang membuat bunyi musik menjadi khas. Kedua adalah komposisi yang berakar dari selingan Gendhing Ginonjing berjudul Lelagon Lelo Ledung, yang digarap dan disajikan dengan model uro-uro atau akapela, dikemas dengan paradigma sindhenan gaya Surakarta, dengan menonjolkan dinamika power suara pesindhen serta memanfaatkan aspek keruangan dengan teknik akustika bunyi surround. Ketiga adalah komposisi yang berakar dari surat Kartini tentang Gendhing Ginonjing. Karya ini merepresentasikan perasaan Kartini yang tertuang dalam surat. Bagian ini menggarap elemen vokal melalui perpaduan berbagai gaya sindhenan meliputi: Jawa Barat, Banyumas, Jawa Tengah, serta Banyuwangi, yang kemudian diformulasikan kembali menjadi konsep musik garapan baru. Penyusunan karya ini menggunakan beberapa metode sebagai langkah penciptaannya, meliputi: menentukan bahan, mencari bahan, mengolah bahan, mengemas bahan, serta mempergelarkannya. Rangkaian tersebut adalah proses dari lahirnya karya “Suara Sindhen: Interpretasi Gendhing Ginonjing”. Kata kunci: Suara Sindhen, Gendhing Ginonjing, Komposisi Musik. ABSTRACT The work of “ Suara Sindhen: Interpretasi Gendhing Ginonjing “ is based on the analysis and interpretation of Gendhing Ginonjing. It started when the creator read Kartini’s letter about Gendhing Ginonjing. Kartini’s anxiety was as easy as listening to Gendhing Ginonjing, written in the letter dramatically. The essence of the letter gives stimulants to the creator to create works based on Gendhing Ginonjing. If Kartini can rewrite Gendhing Ginonjing literally through his letter, a sindhen also wants to reveal Gendhing Ginonjing through musical thought and embodied through the sindhen’s orchestral artwork. From the observation and analysis, Gendhing Ginonjing can be divided into three musical concepts. The first is adegan of Gendhing Ginonjing which is developed involving wangsalan, abon-abon, parikan, senggakan, as well as sekar bebas as the text elements. The elements of song presents a mix of harmoni adumanis, salahnggumun, kempyung, pendawan, serta gembyang and thereby creating a unique harmony or tone that makes a special music sounds. Sec-ondly, the composition is rooted from Gendhing Ginonjing interval entitled Lelagon Lelo Ledung, which is treated and presented with uro-uro or akapela model, packed in Surakarta style paradigm, focusing on the dynamic power of pesindhen voice and utilizing the spatial aspect with the surround sound acoustic tech-niques. The third is a composition based on the Kartini letter about Gendhing Ginonjing. This work represents Kartini’s feeling written in the letter. This section deals with the vowel elements through a combination of various sindhenan styles including: West Java, Banyumas, Central Java, and Banyuwangi, which are then formulated into the concept of new music. The composition of this work uses several methods in its creation, including: determining materials, finding materials, processing materials, packaging materials, and then presenting them. The series tells about the process of the work of “Sindhen Voice: Gendhing Ginonjing Interpretation”. Keywords: Sindhen Voice, Gendhing Ginonjing, Music Composition

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Laptop Composition at the Turn of the Millennium: Repetition and Noise in the Music of Oval, Merzbow, and Kid606

twentieth century music ◽

10.1017/s1478572211000065 ◽

2010 ◽

Vol 7 (1) ◽

pp. 91-115

Author(s):

JOHN LATARTARA

Keyword(s):

Large Scale ◽

Precise Measurement ◽

Gilles Deleuze ◽

New Music ◽

Musical Structure ◽

Turn Of The Millennium ◽

Musical Activity ◽

Musical Characteristics ◽

And Performance ◽

Structure And Design

AbstractLaptop composition – the creation and performance of music primarily using laptop computers – emerged as an important musical activity in the last decade of the twentieth century. While much has been written about the cultural and conceptual significance of this new music, less has been published regarding the sonic structure of specific works. This article explores the musical structure and design of compositions by three laptop composers at the turn of the millennium: ‘Untitled #2’ by Oval (Markus Popp), ‘Cow Cow’ by Merzbow (Masami Akita), and ‘Powerbookfiend’ by Kid606 (Miguel De Pedro). Each piece is analysed using spectrographic images, representations of musical sound that allow for the precise measurement of frequency and intensity. Repetition and noise are revealed as musical characteristics common to all three pieces, defining both smaller-scale patterns and large-scale designs. Using the conceptual vocabulary of Paul Virilio and Gilles Deleuze, repetition and noise are framed in relation to a ‘machine aesthetic’ and ‘difference and repetition’.

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