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By Edward F. McGuire Mr.

Explores guitar chord voicings, progressions, concord, and the useful use of chord formations in ensemble.

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This hyper-repetitiveness, the parent hopes, not only shows the infant where the word boundaries lie, but also builds memory of its phonemic content and associations to its semantic referent. Musical repetition might also be profitably conceptualized as a way to teach people how to listen to the piece at hand—to guide them to the proper level of attention (see Margulis, 2012), and to underline the entities considered important.  27). This link to musical process makes it instructive to examine repetition’s didactic aims in infant-directed speech.

Chapter 6 examines performed repetition more systematically; here it is sufficient to note that this book largely uses notated repetition as an imperfect but pragmatic proxy for acoustic repetition. Passages where pitches, durations, and notated timbral and dynamic levels repeat are treated as acoustic repetitions, although in reality, subtle qualities in microtiming, voicing, and dynamics distinguish the so-called repetitions from one another. This notation-centric conception of musical identity is well explored historically and philosophically in Lydia Goehr’s The Imaginary Museum of Musical Works (2007), and is a conception that has seeped even into musical traditions that don’t generally rely on notation.

This chapter offers a few preliminary observations. First, to remember a passage of music requires an uncommonly extended duration of time—the duration it took to play the passage in the first place. Remembering a passage entails mentally replaying it; thus, musical repetitions are quite like musical memories. This resemblance draws us in, and encourages a sort of embodiment of the sound—the music is doing objectively just what we imagined it to, subjectively—that is by its very nature pleasurable.

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