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For Ann (rising)
''For Ann (rising)'' is a piece of electronic music composed by American composer and music theorist James Tenney in 1969. The piece incorporates the Shepard tone concept, named after Tenney's colleague at Bell Labs, psychologist Roger Shepard. The technique which the piece uses is more properly described as a continuous Risset scale, or a Shepard-Risset glissando . It consists of a repeating sequence of sine waves arranged in a glissando between twelve and fifteen rising at any time and fading in and out, entering a minor sixth below their predecessors (; ). The concept of the piece derived from Tenney's speculations on auditory illusions in his 1961 master's thesis ''Meta (+) Hodos'', an early application of gestalt theory and cognitive science to music. Variations Imagining an inverted version of ''For Ann (rising)'', American composer Philip Corner once remarked that the piece "must be optimistic! (Imagine the depressing effectiveness of it—he could never be so cruel—down ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Electronic Music
Electronic music is a genre of music that employs electronic musical instruments, digital instruments, or circuitry-based music technology in its creation. It includes both music made using electronic and electromechanical means ( electroacoustic music). Pure electronic instruments depended entirely on circuitry-based sound generation, for instance using devices such as an electronic oscillator, theremin, or synthesizer. Electromechanical instruments can have mechanical parts such as strings, hammers, and electric elements including magnetic pickups, power amplifiers and loudspeakers. Such electromechanical devices include the telharmonium, Hammond organ, electric piano and the electric guitar."The stuff of electronic music is electrically produced or modified sounds. ... two basic definitions will help put some of the historical discussion in its place: purely electronic music versus electroacoustic music" ()Electroacoustic music may also use electronic effect units to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Auditory Illusion
Auditory illusions are false perceptions of a real sound or outside stimulus. These false perceptions are the equivalent of an optical illusion: the listener hears either sounds which are not present in the stimulus, or sounds that should not be possible given the circumstance on how they were created. Humans are fairly susceptible to illusions, despite an innate ability to process complex stimuli. Confirmation bias is believed to be largely responsible for the inaccurate judgments that people make when evaluating information, given that humans typically interpret and recall information that appeals to their own biases. Amongst these misinterpretations, known as illusions, falls the category of auditory illusions. The brain uses multiple senses simultaneously to process information, spatial information is processed with greater detail and accuracy in vision than in hearing. Auditory illusions highlight areas where the human ear and brain, as organic survival tools, differentiat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pitch Circularity
Pitch circularity is a fixed series of tones that are perceived to ascend or descend endlessly in pitch. It's an example of an auditory illusion. Explanation Pitch is often defined as extending along a one-dimensional continuum from high to low, as can be experienced by sweeping one’s hand up or down a piano keyboard. This continuum is known as pitch height. However pitch also varies in a circular fashion, known as pitch class: as one plays up a keyboard in semitone steps, C, C, D, D, E, F, F, G, G, A, A and B sound in succession, followed by C again, but one octave higher. Because the octave is the most consonant interval after the unison, tones that stand in octave relation, and are so of the same pitch class, have a certain perceptual equivalence—all Cs sound more alike to other Cs than to any other pitch class, as do all Ds, and so on; this creates the auditory equivalent of a Barber's pole, where all tones of the same pitch class are located on the same side of the p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Golden Ratio
In mathematics, two quantities are in the golden ratio if their ratio is the same as the ratio of their sum to the larger of the two quantities. Expressed algebraically, for quantities a and b with a > b > 0, where the Greek letter phi ( or \phi) denotes the golden ratio. The constant \varphi satisfies the quadratic equation \varphi^2 = \varphi + 1 and is an irrational number with a value of The golden ratio was called the extreme and mean ratio by Euclid, and the divine proportion by Luca Pacioli, and also goes by several other names. Mathematicians have studied the golden ratio's properties since antiquity. It is the ratio of a regular pentagon's diagonal to its side and thus appears in the construction of the dodecahedron and icosahedron. A golden rectangle—that is, a rectangle with an aspect ratio of \varphi—may be cut into a square and a smaller rectangle with the same aspect ratio. The golden ratio has been used to analyze the proportions of natural object ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Equal Temperament
An equal temperament is a musical temperament or tuning system, which approximates just intervals by dividing an octave (or other interval) into equal steps. This means the ratio of the frequencies of any adjacent pair of notes is the same, which gives an equal perceived step size as pitch is perceived roughly as the logarithm of frequency. In classical music and Western music in general, the most common tuning system since the 18th century has been twelve-tone equal temperament (also known as 12 equal temperament, 12-TET or 12-ET; informally abbreviated to twelve equal), which divides the octave into 12 parts, all of which are equal on a logarithmic scale, with a ratio equal to the 12th root of 2 ( ≈ 1.05946). That resulting smallest interval, the width of an octave, is called a semitone or half step. In Western countries the term ''equal temperament'', without qualification, generally means 12-TET. In modern times, 12-TET is usually tuned relative to a standard pitch of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Just Intonation
In music, just intonation or pure intonation is the tuning of musical intervals Interval may refer to: Mathematics and physics * Interval (mathematics), a range of numbers ** Partially ordered set#Intervals, its generalization from numbers to arbitrary partially ordered sets * A statistical level of measurement * Interval e ... as whole number ratios (such as 3:2 or 4:3) of Frequency, frequencies. An interval (music), interval tuned in this way is said to be pure, and is called a just interval. Just intervals (and chords created by combining them) consist of tones from a single harmonic series (music), harmonic series of an implied fundamental frequency, fundamental. For example, in the diagram, if the notes G3 and C4 (labelled 3 and 4) are tuned as members of the harmonic series of the lowest C, their frequencies will be 3 and 4 times the fundamental frequency. The interval ratio between C4 and G3 is therefore 4:3, a just fourth (music), fourth. In Western musical practice ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Philip Corner
Philip Lionel Corner (born April 10, 1933; name sometimes given as Phil Corner) is an American composer, trombonist, alphornist, vocalist, pianist, music theorist, music educator, and visual artist. Biography After The High School of Music & Art in New York City, Philip Corner received his BA (1955) at CCNY, where his most important teacher was Fritz Jahoda; and an MA (1959) from Columbia University where his composition teachers were Otto Luening and Henry Cowell, The two years in between (1955–57) were spent in Paris at the Conservatoire Nat'l de Musique, following the class "Philosophie Musicale" of Olivier Messiaen. Equally important was his friendship with the Canadian painter Paul-Emile Borduas, who introduced him to "la grande aventure nord-américaine", to which he returned and became part of the group around John Cage. At the same time he resumed his studies of the piano with Dorothy Taubman, which was to have a significant role in his compositional as well as perf ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gestalt Psychology
Gestalt-psychology, gestaltism, or configurationism is a school of psychology that emerged in the early twentieth century in Austria and Germany as a theory of perception that was a rejection of basic principles of Wilhelm Wundt's and Edward Titchener's elementalist and structuralist psychology.Mather, George (2006) Foundations of Perception, Psychology Pressch.1 p.32 As used in Gestalt psychology, the German word ''Gestalt'' ( , ; meaning "form") is interpreted as "pattern" or "configuration". Gestalt psychologists emphasize that organisms perceive entire patterns or configurations, not merely individual components. The view is sometimes summarized using the adage, "the whole is more than the sum of its parts." Gestalt psychology was founded on works by Max Wertheimer, Wolfgang Köhler, and Kurt Koffka. Origin and history Max Wertheimer (1880–1943), Kurt Koffka (1886–1941), and Wolfgang Köhler (1887-1967) founded Gestalt psychology in the early 20th century. The domi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minor Sixth
In Western classical music, a minor sixth is a musical interval encompassing six staff positions (see Interval number for more details), and is one of two commonly occurring sixths (the other one being the major sixth). It is qualified as ''minor'' because it is the smaller of the two: the minor sixth spans eight semitones, the major sixth nine. For example, the interval from A to F is a minor sixth, as the note F lies eight semitones above A, and there are six staff positions from A to F. Diminished and augmented sixths span the same number of staff positions, but consist of a different number of semitones (seven and ten respectively). Equal temperament In 12-tone equal temperament (12-ET), the minor sixth is enharmonically equivalent to the augmented fifth. It occurs in first inversion major and dominant seventh chords and second inversion minor chords. It is equal to eight semitones, i.e. a ratio of 28/12:1 or simplified to 22/3:1 (about 1.587), or 800 cents. Just temper ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
James Tenney
James Tenney (August 10, 1934 – August 24, 2006) was an American composer and music theorist. He made significant early musical contributions to plunderphonics, sound synthesis, algorithmic composition, process music, spectral music, microtonal music, and tuning systems including extended just intonation. His theoretical writings variously concern musical form, texture, timbre, consonance and dissonance, and harmonic perception. Biography James Tenney was born in Silver City, New Mexico, and grew up in Arizona and Colorado. He attended the University of Denver, the Juilliard School of Music, Bennington College (B.A., 1958) and the University of Illinois (M.A., 1961). He studied piano with Eduard Steuermann and composition with Chou Wen-chung, Lionel Nowak, Paul Boepple, Henry Brant, Carl Ruggles, Kenneth Gaburo, John Cage, Harry Partch, and Edgard Varèse. He also studied acoustics, information theory and tape music composition under Lejaren Hiller. In 1961, Tenney completed ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fade (audio Engineering)
In audio engineering, a fade is a gradual increase or decrease in the level of an audio signal. The term can also be used for film cinematography or theatre lighting in much the same way (see fade (filmmaking) and fade (lighting)). A recorded song may be gradually reduced to silence at its end (fade-out), or may gradually increase from silence at the beginning (fade-in). Fading-out can serve as a recording solution for pieces of music that contain no obvious ending. Both fades and crossfades are very valuable since they allow the engineer to quickly and easily make sure that the beginning and the end of any audio is smooth, without any prominent glitches.Langford, S. 2014. Digital Audio Editing. Burlington: Focal Press. pp. 47-57. It is necessary that there is a clear section of silence prior to the audio. Fade-ins and -outs can also be used to change the characteristics of a sound, such as to soften the attack in vocals where very plosive (‘b’, ‘d’, and ‘p’) s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
