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Harmony: A Psychoacoustical Approach (Paperback, Softcover reprint of the original 1st ed. 1989)
Loot Price: R3,487
Discovery Miles 34 870
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Harmony: A Psychoacoustical Approach (Paperback, Softcover reprint of the original 1st ed. 1989)
Series: Springer Series in Information Sciences, 19
Expected to ship within 10 - 15 working days
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My first encounter with the theory of harmony was during my last
year at school (1975). This fascinating system of rules
crystallized the intuitive knowledge of harmony I had acquired from
years of piano playing, and facilitated memorization,
transcription, arrangement and composition. For the next five
years, I studied music (piano) and science (Physics) at the Univer
sity of Melbourne. This "strange combination" started me wondering
about the origins of those music theory "rules." To what extent
were they determined or influenced by physics? mathematics?
physiology? conditioning? In 1981, the supervisor of my honours
project in musical acoustics, Neville Fletcher, showed me an
article entitled "Pitch, consonance, and harmony," by a certain
Ernst Terhardt of the Technical University of Munich. By that
stage, I had devoured a considerable amount of (largely
unsatisfactory) material on the nature and origins of harmony,
which enabled me to recognize the significance of Terhardt's
article. But it was not until I arrived in Munich the following
year (on Terhardt's invitation) that I began to appreciate the
conse quences of his "psychoacoustical" approach for the theory of
harmony. That is what this book is about. The book presents
Terhardt's work against the broad context of music perception
research, past and present. Music perception is a multidisciplinary
mixture of physics, psychology and music. Where different
theoretical ap proaches appear contradictory, I try to show instead
that they complement and enrich one another."
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