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Auditory perception. --- Hearing --- Sound --- Perception auditive --- Audition (Physiologie) --- Son --- Experiments --- Psychological aspects --- Expériences --- Aspect psychologique --- Auditory perception --- Testing --- -Hearing --- -Acoustics --- Audition (Physiology) --- Physiological acoustics --- Bioacoustics --- Senses and sensation --- Audiology --- Auditory pathways --- Deafness --- Ear --- Listening --- Sound perception --- Perception --- Word deafness --- -Experiments --- Expériences --- Acoustics --- Audiometer --- 78.82 --- Hearing - Experiments --- Hearing - Testing --- Music --- akoestiek --- muziektheorie

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Choice Outstanding Academic Title (2002)Our hearing system chose the sounds for music. During the past fifty years there have been spectacular advances in our knowledge of how that system works and it seems possible that it might provide explanations for a range of musical phenomena. This book begins by discussing the early evolution of simple 'western' tonal music; what exactly were the characteristics of the intervals and scales which hearing selected. It then considers problems such as what hearing has selected as instrumental tone, and why we have such a peculiar assessment of loudness; why is that independent of pitch, and why is hearing so sensitive to time? Does the mechanism of hearing determine our pitch discrimination, which differs so much across our hearing range? Amongst other things, this discussion leads to the conclusion that the harmonics of musical sounds, which are the basis of so much theory about music, did not and cannot play the role which has been so widely attributed to them ever since the work of Helmholtz in 1870. There follows a simplified account of the hearing mechanism: how musical sound is coded by the ear, the nature of the processing stations through which the information passes before it creates sensation in the cortex, and the extent to which it provides answers to the questions which have been raised. This produces a rather different view of the basis of some fundamental features of music from those which are commonly held. It also leads to the conclusion that music started with primitive instruments rather than with the human voice. Finally, the biological reasons for the hearing mechanism behaving as it does are explained, and thus the reasons for the sensations of music being experienced in the way they are. No scientific knowledge is assumed; any simple physical acoustics required is explained, and there are no mathematical equations. The late Professor Sir JAMES BEAMENT was a distinguished scientist and musician, who taught and examined music students at Cambridge University.

Acoustics --- Acoustique --- Akoestiek --- Audition (Physiology) --- Gehoor --- Hearing --- Music -- Perception --- Musical perception --- Musique -- Perception --- Muziek -- Perceptie --- Muzikale perceptie --- Muzikale waarneming --- Oreille absolue --- Oreille musicale --- Ouïe --- Perception de la musique --- Perception musicale --- Physiological acoustics --- Music --- Acoustics and physics --- Music - Acoustics and physics. --- Music - Acoustics and physics --- Music - Physiological aspects --- Musical perception. --- Hearing. --- Acoustics and physics. --- Ouïe --- Musique --- Acoustique et physique --- 515 --- 840 --- Musical acoustics --- Physics --- Sound --- Monochord --- Auditory perception --- Bioacoustics --- Senses and sensation --- Audiology --- Auditory pathways --- Deafness --- Ear --- Listening --- Akoestika --- Muziekgeschiedenis: essays (histor. onderwerpen, literaire analyses) --- Psychological aspects --- 78.82 --- Acoustics. --- Hearing Mechanism. --- Music. --- Sound Direction. --- Western Music.

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Le père jésuite Louis-Bertrand Castel (1688-1757) a connu son heure de gloire au XVIIIe siècle grâce à son fameux clavecin oculaire. Partant de l'idée qu'il existe une analogie physique entre le son et la couleur, Castel imagine un clavecin qui dispenserait une musique de couleurs - des couleurs préalablement organisées en gamme sur la base de leurs correspondances naturelles avec les sons. Par là, Castel cherche à mettre au jour les principes rationnels qui déterminent l'ordre de la nature et à fonder l'art en raison. Dès lors, l'art en vient à témoigner d'une intelligence divine compatible avec la raison et la musique des couleurs, en ce qu'elle rend ces principes fondateurs plus visibles que tout autre art, s'apparente à une forme de révélation. La musique colorée permet en outre de sauver l'homme de l'ennui, cette langueur qui lui ôte le sentiment d'exister, en assurant la pérennité du mouvement et de la surprise, en renouvelant le plaisir de la variété, en satisfaisant l'inconstance naturelle qui le pousse sans relâche vers d'autres objets de plaisir. De là à promouvoir un art libertin, il n'y a qu'un pas, que Castel franchit à son insu. Cette tendance est d'autant plus troublante que l'ennui, chez Castel, se trouve privé de dimension métaphysique et qu'il autorise de ce fait la recherche de la jouissance, au travers de l'expérience esthétique. Le divertissement a gagné ses lettres de noblesse dans le monde.

Music --- anno 1700-1799 --- 78.43.1 --- 78.25 --- 78.81 --- Music and color --- Color-hearing --- Synesthesia --- Harpsichord --- Music and science --- History --- Castel, Louis-Bertrand, --- Harpsichord - History - 18th century --- Music and science - History - 18th century --- Harpsichord - France - History - 18th century --- Castel, Louis-Bertrand, - 1688-1757

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From prehistoric bone flutes to pipe organs to digital synthesizers, instruments have been important to musical cultures around the world. Yet, how do instruments affect musical organization? And how might they influence players' bodies and minds? Music at Hand explores these questions with a distinctive blend of music theory, psychology, and philosophy. Practicing an instrument, of course, builds bodily habits and skills. But it also develops connections between auditory and motor regions in a player's brain. These multi-sensory links are grounded in particular instrumental interfaces. They reflect the ways that an instrument converts action into sound, and the ways that it coordinates physical and tonal space. Ultimately, these connections can shape listening, improvisation, or composition. This means that pianos, guitars, horns, and bells are not simply tools for making notes. Such technologies, as creative prostheses, also open up possibilities for musical action, perception, and cognition. Throughout the book, author Jonathan De Souza examines diverse musical case studies-from Beethoven to blues harmonica, from Bach to electronic music-introducing novel methods for the analysis of body-instrument interaction. A companion website supports these analytical discussions with audiovisual examples, including motion-capture videos and performances by the author. Written in lucid prose, Music at Hand offers substantive insights for music scholars, while remaining accessible to non-specialist readers. This wide-ranging book will engage music theorists and historians, ethnomusicologists, organologists, composers, and performers-but also psychologists, philosophers, media theorists, and anyone who is curious about how musical experience is embodied and conditioned by technology.

Music --- Psychomotor Performance --- Acoustic Stimulation --- Auditory Perception --- Auditory Processing --- Perception, Auditory --- Processing, Auditory --- Auditory Perceptual Disorders --- Hearing --- Auditory Stimulation --- Stimulation, Acoustic --- Stimulation, Auditory --- Music Therapy --- Noise --- Sound --- Music psychology --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Performance&delete& --- Psychological aspects --- psychology --- physiology --- Psychology --- Performance --- Psychological aspects. --- 78.82 --- Muziek --- Psychologische aspecten

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Music --- Listening --- Philosophy and aesthetics --- History --- History and criticism --- 523 --- Muziekgeschiedenis (Klassiek) --- Listening. --- Musique --- Ecoute (Psychologie) --- History and criticism. --- Philosophie et esthétique --- Histoire --- Histoire et critique --- Philosophie et esthétique --- Music appreciation --- Auditory selective attention --- Attention auditive sélective --- Appréciation --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Auding --- Attention --- Comprehension --- Educational psychology --- Hearing --- 78.81 --- 78.82 --- 78.25 --- Music - Philosophy and aesthetics - History - 18th century --- Music - Germany - 18th century - History and criticism