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E-grāmata: Evolution of Music through Culture and Science

(Emeritus Professor, University of Sussex)
  • Formāts: 288 pages
  • Izdošanas datums: 25-Nov-2019
  • Izdevniecība: Oxford University Press
  • Valoda: eng
  • ISBN-13: 9780192587855
  • Formāts - PDF+DRM
  • Cena: 32,20 €*
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  • Formāts: 288 pages
  • Izdošanas datums: 25-Nov-2019
  • Izdevniecība: Oxford University Press
  • Valoda: eng
  • ISBN-13: 9780192587855

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The Evolution of Music by Culture and Science aims to recognise the impact of science on music, why it occurs, how we respond, and even to tentatively see if we can predict future developments. Technology has played an immense role in the development of music as it has enabled the production of new sounds, introduced new instruments and continuously improved and modified existing ones. Printing, musical notation, and modern computer aids to composition, plus recordings and electronic transmission have equally enabled us to have access to music from across the world. Such changes, whether just more powerful pianos, or new sounds as from the saxophone, have inspired composers and audiences alike. Acoustics and architecture play similar roles as they changed the scale and performance of concert halls, and with the advent of electronics, they enabled vast pop music festivals. No aspect of modern music making has been untouched by the synergy with scientific innovation. This is not a one-way interaction as the early attempts to make recordings were a major motivating force to design the electronics for amplifiers and these in turn inspired and enabled the designs of semiconductor electronics and modern computer technology.

To appreciate the impact of technology on music does not require any prior scientific background as the concepts are invariably extremely simple and are presented here without technical detail. Understanding music and why we like different genres is far more complex, as this involves our personal background and taste. Both aspects change with time, and there is no contradiction in enjoying items as diverse as baroque madrigals, symphonies, jazz or pop music, or music from totally different cultures.
A Note to the Readers xiii
All the Physics you Need to Know to Read This Book xv
1 Music---An Ever-Changing Landscape
1(16)
The Universality of Music
1(1)
The Aims of This Book
2(2)
A Rapid View of the Content by
Chapter
4(1)
The Standard View of Musical Development
5(3)
The Role of the Renaissance and Reformation
8(1)
My Analogy of Music as a Garden
9(3)
A Difference Between Music and Art
12(1)
The Earliest Signs of Music
12(2)
The Need for Written Records
14(1)
Ritual and Chant Can Enable Technology
15(2)
2 Musical Development Assisted by Technology
17(14)
Western Religious Music in the First Millennium
17(2)
Musical Notation and Printing
19(1)
A Letter to the Corinthians
20(1)
Polyphony in Secular Music
21(1)
More Recent Developments
22(1)
Singing, Secular Music, and the Birth of Opera
23(1)
Survival of Fame and Compositions
24(7)
3 Musicianship and the Cult of Personality
31(20)
The Growing Cult of Superstars
31(4)
The Cult of Conductors
35(2)
Feedback from Critics and the Audience
37(4)
Reasons Why We Can Never Repeat the Musical Past
41(1)
Tempi
41(3)
Musical Training
44(2)
Changing Styles of Performance
46(1)
Who are musicians?
47(2)
The Relevance of a Changing Landscape for Earlier Music
49(2)
4 Signal Processing by the Brain
51(24)
Sensing and Survival
51(1)
Alternatives of Discussing Wavelength or Frequency
51(1)
Sensing Light
52(2)
A Sound Strategy
54(3)
The Role of the Brain
57(2)
The Design Challenge for the Ear
59(7)
The Frequency Dependence of the Ear
66(3)
Hearing Quality from Historical Records, Damage, and Aging
69(2)
Hearing Loss, Hearing Aids, and Their Relevance to Music
71(4)
5 Interpreting Complex Sounds
75(12)
The Brain and Signal Interpretation
75(1)
The Harmonic Content of Notes from an Isolated Violin String
76(3)
The Role of the Violin Structure
79(1)
Brain Tricks to Guess at a Fundamental
80(1)
Anharmonic Signals
81(2)
The Strain on the Brain
83(1)
A Final Comment on Hearing
84(3)
6 Scales---Idealism or Compromise?
87(16)
Musical Scales---the Conflict Between Idealism and Compromise
87(2)
Pythagoras and Simple Musical Intervals
89(4)
Pleasant Musical Intervals According to Pythagoras
93(1)
Wavelength and Frequency
94(1)
Later Ideas on Scale Tuning
94(2)
Summary of Ideas on Defining Scales
96(1)
Does Equal Temperament Tuning Really Work?
97(2)
Naming the Notes
99(1)
Final Thoughts on Scales
100(3)
7 Musical Changes Driven by Technology
103(18)
Why is Technology Relevant to Music?
103(2)
The Violin Family
105(4)
Violas, Cellos, and Basses
109(3)
Improving Wind Instruments
112(4)
Examples of Instrument Evolution
116(1)
The Clarinet Family
117(1)
The Saxophone
118(3)
8 Development of Fixed Frequency Keyboards
121(14)
Keyboard Instruments
121(1)
Clavichord and Harpsichord
122(2)
Piano Development
124(2)
Dilemmas with Piano Music
126(3)
Electronic Pianos
129(3)
Electronic Instruments
132(1)
Other Technological Influences on Music
133(2)
9 Decay of Information and Data Loss
135(16)
Technological Driven Changes in Music and Composition
135(1)
Survival of Literature and Painting
136(3)
Film and Video Survival
139(1)
The BBC Doomsday Project of 1986
140(1)
Technology and Recording
141(1)
The Recording of Musical Sounds
142(2)
Music Scores as We Have Known Them
144(1)
Will Printed Scores Survive?
144(3)
Embellishment and Improvisation
147(1)
An Overview on Loss of Musical Information
148(3)
10 From Live Music to Electronic Offerings
151(16)
A Century of Electronics and Music
151(2)
Technology and Music Processing Over the Last 100 Years
153(1)
Microphones and Loudspeakers
154(2)
The Alternative Scenarios
156(1)
Sound Engineers, Live and Record Mastering
157(1)
Directors and Camera Crews
158(2)
Can Recordings Give a Faithful Rendition?
160(1)
Hidden Factors in Record Making and Mastering
161(3)
Future Electronic Screen Displays
164(3)
11 Analogue or Digital Recording
167(20)
Vinyl
167(2)
Magnetic Tape Storage
169(2)
Experimentation with Tape for Popular Music
171(1)
Advent of Compact Disc Recording
172(4)
Local or Cloud Storage
176(1)
Where and How Do We Listen?
177(3)
The Future
180(2)
Downloads and Streaming---Will They Change What We Listen to?
182(5)
12 The Voice
187(14)
The Intrinsic Music of Humanity
187(3)
Separation of Song, Dialect, and Language
190(2)
Voice Training and Singing Teachers
192(4)
Tone Quality and Voice Control
196(2)
Historical Perspective of Frequency Analysis
198(1)
Future Developments
199(2)
13 Acoustics of Concert Halls and Rooms
201(20)
The Sound of Music
201(2)
Sound Paths from Stage to Seat
203(2)
Reverberation and Echoes
205(2)
How Meaningful is Citing a Reverberation Time?
207(2)
Controlling the Reverberation Time
209(3)
Experience in Improving Acoustics
212(3)
How to Mix Soloists and Orchestra for an Opera
215(2)
Concert Hall Rejlectors, Clouds, and Sound Diffiisers
217(1)
Listening to Music at Home or in a Car
218(3)
14 Orchestral Layout and the Best Concert Seats
221(20)
Orchestral Size
221(1)
Time Spreads Across a Big Orchestra
222(1)
Identification by Direct Sound
223(1)
Analysis of the Spectrum of Component Notes
224(1)
Factors that Change the Sound of Instruments
225(3)
Directionality of Instruments
228(2)
Arrangements of the Orchestra
230(4)
Where Are the Best Seats?
234(3)
Musical Changes with Distance
237(2)
The Final View on Choosing a Seat
239(2)
15 Music, Emotions and Political Influences
241(22)
Introduction
241(1)
Funding and Power Bases of Music
242(1)
Responses to Music
243(2)
Psychology and Musical Impact
245(3)
Political Influence and Control
248(3)
Is a Musical Profession Free from Politics?
251(2)
Earlier Dissemination of Music
253(1)
The Use of Music for Political Control
254(3)
Music in Religious Contexts
257(2)
Responses to Regional Variations
259(1)
What Constitutes Music that We Like
259(4)
Further Reading 263(2)
A Brief Glossary of Less Familiar Terms 265
Peter Townsend's music commenced with violin lessons at the age of 4, he has played in quartets and orchestras, researched violin making techniques, lectured on physics of music, and sings (baritone). His research in physics and engineering is unusually diverse with topics ranging from luminescence, ion implanted waveguide lasers, optical detection of breast cancer (Descartes prize finalist), to archaeology and geology. He has also worked on commercial engineering products. He has PhD and DSc degrees plus honorary doctorates from both the Autonoma Universidad de Madrid and the Bulgarian Academy of Sciences. His scientific outputs include some 550 publications, 7 books plus patents.