By Elizabeth Hellmuth Margulis
Winner of the Wallace Berry Award, Society for song Theory
What is it in regards to the tune you're keen on that makes you need to listen it again?
Why will we crave a "hook" that returns, repeatedly, in the similar piece?
And how does a tune turn out getting caught on your head?
Whether it is a motif repeated all through a composition, a pattern looped lower than an digital dance beat, a passage replayed ceaselessly by way of a musician in a tradition room-or an "earworm" burrowing via your brain like a damaged record-repetition is almost as necessary to tune because the notes themselves. Its centrality has been said by way of everybody from evolutionary biologist W. Tecumseh Fitch, who has known as it a "design characteristic" of song, to the composer Arnold Schoenberg who admitted that "intelligibility in track appears to be like most unlikely with out repetition." And but, stunningly little is basically understood approximately repetition and its position in music.
On Repeat offers the 1st in-depth inquiry into music's repetitive nature, focusing no longer on a selected type, or physique of labor, yet on repertoire from throughout time sessions and cultures. writer Elizabeth Hellmuth Margulis attracts on a various array of fields together with tune thought, psycholinguistics, neuroscience, and cognitive psychology, to appear head-on on the underlying perceptual mechanisms linked to repetition. Her paintings sheds gentle on quite a number concerns from repetition's use as a compositional software to its function in characterizing our habit as listeners, after which strikes past track to think about comparable implications for repetition in language, studying, and communique.
Written in enticing prose, and enlivening another way complicated strategies for the expert and non-specialist alike, On Repeat will captivate students and scholars throughout a variety of disciplines from track conception and heritage, to psychology and neuroscience-and somebody desirous about the puzzle of repetition in song.
Read Online or Download On Repeat: How Music Plays the Mind PDF
Best composition & performance books
Nobody can let us know extra approximately jazz than the musicians themselves. regrettably, such a lot oral histories have constrained scope--focusing on a selected period or style--and fail to catch the whole, wealthy tale of jazz. Now, during this shiny oral historical past, W. Royal Stokes offers approximately a century of jazz--its humans, locations, sessions, and styles--as it was once obvious by means of the artists who created America's such a lot unique song.
The single e-book particularly designed to assist bass avid gamers easy methods to create appealing solos. contains 2 CDs of Marc Johnson (bassist with invoice Evans, Stan Getz, and so forth. ) taking part in each one workout and plenty of transcriptions of what Marc performs at the CDs. additionally contains transcribed solos through Eddie Gomez, John Patitucci, Jimmy Haslip and others.
Обозначение музыки -это специальный язык и, как любой другой язык, этот должен быть понятен для всех, кто на нем общается. Чем ближе обозначения придерживается общих правил и руководящих принципов, тем более успешно будет исполнена музыка. Правила и руководящие принципы, представленные здесь, помогут всем лучше понять музыкальные намерения автора.
What does it suggest to appreciate track? What, if whatever, does track suggest? Composers, performers, listeners, and teachers may perhaps resolution those questions another way, yet what experience of song do they proportion? whilst tune turns out unexpected or in contrast to something we have now heard earlier than, we may possibly say that we do not "like" it.
Additional resources for On Repeat: How Music Plays the Mind
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.