Quantifying Music: The Science of Music at the First Stage of Scientific Revolution 1580–1650Springer Science & Business Media, 31. 5. 1984 - 308 strán (strany) The soul rejoices in perceiving harmonious sound; when the sound is not harmonious it is grieved. From these affects of the soul are derived the name of consonances for the harmonic proportions, and the name of dissonances for the unharmonic proportions. When to this is added the other harmonie proportion whieh consists of the longer or shorter duration of musical sound, then the soul stirs the body to jumping dance, the tongue to inspired speech, according to the same laws. The artisans accommodate to these harmonies the blows of their hammers, the soldiers their pace. As long as the harmonies endure, everything is alive; everything stiffens, when they are disturbed.! Thus the German astronomer, Johannes Kepler, evokes the power of music. Where does this power come from? What properties of music enable it to stir up emotions which may go far beyond just feeling generally pleased, and which may express themselves, for instance, in weeping; in laughing; in trembling over the whole body; in a marked acceleration of breathing and heartbeat; in participating in the rhythm with the head, the hands, the arms, and the feet? From the beginning of musical theory the answer to this question has been sought in two different directions. |
Obsah
DEFINING THE PROBLEM SITUATION | 1 |
111 Zarlinos Redefinition of the Problem | 3 |
112 Objections to the Senario | 6 |
12 THE NATURE OF THE SCIENTIFIC REVOLUTION | 7 |
121 The Science of Music around 1600 | 10 |
13 OUTLINE OF CHAPTERS 2 THROUGH 7 | 11 |
THE MATHEMATICAL APPROACH | 13 |
211 The Empirical Foundation | 15 |
41 ISAAC BEECKMAN | 116 |
411 The Corpuscular Theory of Sound | 120 |
412 The Nature of Consonance | 127 |
413 Musical Instruments | 147 |
Consolations for the Physicist | 149 |
415 The Division of the Octave | 151 |
416 Conclusions | 157 |
42 RENE DESCARTES | 161 |
212 Distinguishing Consonance from Dissonance | 16 |
213 The Genesis of Harmony | 23 |
214 Passing by Acoustics | 29 |
215 Conclusions | 32 |
22 THE DIVISION OF THE OCTAVE | 34 |
221 The Incompatibility of the Pure Consonances | 37 |
222 Summary | 43 |
23 SIMON STEVIN | 45 |
231 On the Theory of Music | 48 |
233 The Octave Comprises 6 Equal Tones | 51 |
234 The Octave Comprises 12 Equal Semitones | 53 |
235 Sustaining Arguments | 57 |
236 A Musicians Critique | 61 |
237 Contemporary Music | 63 |
238 Conclusions | 67 |
THE EXPERIMENTAL APPROACH | 75 |
32 VINCENZO GALILEI | 78 |
321 The Singers Dilemma | 79 |
322 Smashing the Senario | 82 |
323 Summary and Conclusions | 83 |
33 GALILEO GALILEI | 85 |
331 Pendulums and Resonance | 87 |
332 The Coincidence Theory of Consonance | 90 |
333 Conclusions | 92 |
34 THE NATURE OF THE COINCIDENCE THEORY | 94 |
35 MARIN MERSENNE | 97 |
351 The Abstract of Musical Theory | 100 |
352 Some Properties of Sound | 101 |
353 The Coincidence Theory Put to the Test | 103 |
354 The Division of the Octave | 111 |
355 Quantifying All Possible Music | 112 |
356 Conclusions | 114 |
THE MECHANISTIC APPROACH | 115 |
422 The Scientific Analysis of Musical Beauty | 166 |
423 The Perception of Consonance | 172 |
424 Conclusions | 175 |
CONTACTS AND CRITICISMS | 180 |
51 THE RENAISSANCE THEORISTS | 181 |
52 THE EARLY PHYSICISTS | 182 |
521 Benedetti | 183 |
53 THE MATHEMATICIANS | 184 |
532 Kepler | 185 |
54 THE MERSENNE CIRCLE | 187 |
Beeckman Meets Young Descartes | 188 |
542 Beeckman Descartes andMersenne | 190 |
55 GALILEO GALILEI | 201 |
56 CONCLUSION | 202 |
AN EXAMPLE FROM THE SECOND GENERATION | 205 |
61 THE PREVALENCE OF THE COINCIDENCE THEORY | 206 |
62 CHRISTIAAN HUYGENS | 209 |
621 The Theory of Consonance | 210 |
622 The Division of the Octave | 214 |
623 The Consonance of the Intervals with 7 | 225 |
624 Conclusion | 228 |
CONCLUSIONS | 231 |
712 What Was To Be Accomplished | 234 |
IMPLICATIONS AND PERSPECTIVES | 243 |
722 Music as an Art and Music as a Science | 250 |
An Example of Theory Replacement | 254 |
724 Quest Without End | 258 |
NOTES | 260 |
296 | |
303 | |
305 | |
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Quantifying Music: The Science of Music at the First Stage of Scientific ... H.F. Cohen Obmedzený náhľad - 2013 |
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31-tone division acoustical analysis argument basic Beeckman Benedetti chords chromatic semitones coincidence theory Compendium musicae consonance and dissonance consonant intervals corpuscular degrees of consonance derived diatonic semitones Dijksterhuis discussed equal temperament experience explain explanation of consonance fact fifth Figure fourth frequency Galileo geometric given Harmonice Mundi Harmonie universelle Helmholtz Huygens ideas instrument intonation Isaac Beeckman Kepler keyboard later major third mathematical mean tone temperament mechanical philosophy melody Mersenne's minor sixth modes motion musical intervals musical sound musical theory nature notes octave Palisca partial perceived perception phenomenon physical pitch problem of consonance properties proportions pulses pure Pythagorean quae ratios reason regular result scale science of music Scientific Revolution scientists senario sense of hearing solution soul Spiegheling der Singconst Stevin string lengths strokes syntonic comma theory of consonance true tuning unison Vande Spiegheling vibrations Vincenzo Galilei Walker Zarlino