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) |
|
|
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) |
|
|
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) |
|
|
35 | (2) |
|
Feedback from Critics and the Audience |
|
|
37 | (4) |
|
Reasons Why We Can Never Repeat the Musical Past |
|
|
41 | (1) |
|
|
41 | (3) |
|
|
44 | (2) |
|
Changing Styles of Performance |
|
|
46 | (1) |
|
|
47 | (2) |
|
The Relevance of a Changing Landscape for Earlier Music |
|
|
49 | (2) |
|
4 Signal Processing by the Brain |
|
|
51 | (24) |
|
|
51 | (1) |
|
Alternatives of Discussing Wavelength or Frequency |
|
|
51 | (1) |
|
|
52 | (2) |
|
|
54 | (3) |
|
|
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) |
|
|
81 | (2) |
|
|
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) |
|
|
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) |
|
|
99 | (1) |
|
|
100 | (3) |
|
7 Musical Changes Driven by Technology |
|
|
103 | (18) |
|
Why is Technology Relevant to Music? |
|
|
103 | (2) |
|
|
105 | (4) |
|
Violas, Cellos, and Basses |
|
|
109 | (3) |
|
Improving Wind Instruments |
|
|
112 | (4) |
|
Examples of Instrument Evolution |
|
|
116 | (1) |
|
|
117 | (1) |
|
|
118 | (3) |
|
8 Development of Fixed Frequency Keyboards |
|
|
121 | (14) |
|
|
121 | (1) |
|
Clavichord and Harpsichord |
|
|
122 | (2) |
|
|
124 | (2) |
|
Dilemmas with Piano Music |
|
|
126 | (3) |
|
|
129 | (3) |
|
|
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) |
|
|
139 | (1) |
|
The BBC Doomsday Project of 1986 |
|
|
140 | (1) |
|
|
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) |
|
|
167 | (2) |
|
|
169 | (2) |
|
Experimentation with Tape for Popular Music |
|
|
171 | (1) |
|
Advent of Compact Disc Recording |
|
|
172 | (4) |
|
|
176 | (1) |
|
Where and How Do We Listen? |
|
|
177 | (3) |
|
|
180 | (2) |
|
Downloads and Streaming---Will They Change What We Listen to? |
|
|
182 | (5) |
|
|
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) |
|
|
199 | (2) |
|
13 Acoustics of Concert Halls and Rooms |
|
|
201 | (20) |
|
|
201 | (2) |
|
Sound Paths from Stage to Seat |
|
|
203 | (2) |
|
|
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) |
|
|
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) |
|
|
241 | (1) |
|
Funding and Power Bases of Music |
|
|
242 | (1) |
|
|
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 | |