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Sharawadji Effect
The sharawadji effect is a musical perception or phenomenon regarding timbre and texture described by Claude Shryer as "a sensation of plenitude sometimes created by the contemplation of a complex soundscape whose beauty is inexplicable." Sharawadji is not a stimulus, but rather a reaction to a stimulus. Shryer described searching for this "state of awareness" by "tend ngan open ear in the hopes of experiencing the sublime beauty of a given sound in an unexpected context." The experience of the sharawadji sonic effect is often heavily dictated by personal context as well as the perception of the listener. One example of this effect is the appreciation of the sound of rumbling thunder Thunder is the sound caused by lightning. Depending upon the distance from and nature of the lightning, it can range from a long, low rumble to a sudden, loud crack. The sudden increase in temperature and hence pressure caused by the lightning pr ...: those who are directly exposed to the elements w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Perception
Music psychology, or the psychology of music, may be regarded as a branch of both psychology and musicology. It aims to explain and understand musical behaviour and experience, including the processes through which music is perceived, created, responded to, and incorporated into everyday life. Modern music psychology is primarily empirical; its knowledge tends to advance on the basis of interpretations of data collected by systematic observation of and interaction with human participants. Music psychology is a field of research with practical relevance for many areas, including music performance, composition, education, criticism, and therapy, as well as investigations of human attitude, skill, performance, intelligence, creativity, and social behavior. Music psychology can shed light on non-psychological aspects of musicology and musical practice. For example, it contributes to music theory through investigations of the perception and computational modelling of musical ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Timbre
In music, timbre ( ), also known as tone color or tone quality (from psychoacoustics), is the perceived sound quality of a musical note, sound or musical tone, tone. Timbre distinguishes different types of sound production, such as choir voices and musical instruments. It also enables listeners to distinguish different instruments in the same category (e.g., an oboe and a clarinet, both Woodwind instrument, woodwind instruments). In simple terms, timbre is what makes a particular musical instrument or human voice have a different sound from another, even when they play or sing the same note. For instance, it is the difference in sound between a guitar and a piano playing the same note at the same volume. Both instruments can sound equally tuned in relation to each other as they play the same note, and while playing at the same amplitude level each instrument will still sound distinctively with its own unique tone color. Experienced musicians are able to distinguish between diff ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Texture (music)
In music, texture is how the tempo, melodic, and harmonic materials are combined in a musical composition, determining the overall quality of the sound in a piece. The texture is often described in regard to the density, or thickness, and range, or width, between lowest and highest pitches, in relative terms as well as more specifically distinguished according to the number of voices, or parts, and the relationship between these voices (see Common types below). For example, a thick texture contains many 'layers' of instruments. One of these layers could be a string section or another brass. The thickness also is changed by the amount and the richness of the instruments playing the piece. The thickness varies from light to thick. A piece's texture may be changed by the number and character of parts playing at once, the timbre of the instruments or voices playing these parts and the harmony, tempo, and rhythms used. The types categorized by number and relationship of parts are an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Plenitude
The principle of plenitude asserts that the universe contains all possible forms of existence. Arthur Lovejoy, a historian of ideas, was the first to trace the history of this philosophically important principle explicitly. Lovejoy distinguishes two versions of the principle: a static version, in which the universe displays a constant fullness and diversity, and a temporalized version, in which fullness and diversity gradually increase over time. Lovejoy traces the principle of plenitude to the writings of Plato, finding in the ''Timaeus'' an insistence on "the necessarily complete translation of all the ideal possibilities into actuality". By contrast, he takes Aristotle to reject the principle in his ''Metaphysics'', when he writes that "it is not necessary that everything that is possible should exist in actuality". Since Plato, the principle of plenitude has had the following adherents: *Epicurus reiterated the principle in fr.266 Us. His follower Lucretius (''DRN'' V 526- ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Soundscape
A soundscape is the acoustic environment as perceived by humans, in context. The term was originally coined by Michael Southworth, and popularised by R. Murray Schafer. There is a varied history of the use of soundscape depending on discipline, ranging from urban design to wildlife ecology to computer science. An important distinction is to separate soundscape from the broader acoustic environment. The acoustic environment is the combination of all the acoustic resources, natural and artificial, within a given area as modified by the environment. The International Organization for Standardization (ISO) standardized these definitions in 2014.ISO 12913-1:2014 A soundscape is a sound or combination of sounds that forms or arises from an immersive environment. The study of soundscape is the subject of acoustic ecology or soundscape ecology. The idea of soundscape refers to both the natural acoustic environment, consisting of natural sounds, including animal vocalizations, the coll ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
David Rothenberg
David Rothenberg (born 1962) is a professor of philosophy and music at the New Jersey Institute of Technology, with a special interest in animal sounds as music. He is also a composer and jazz musician whose books and recordings reflect a longtime interest in understanding other species such as singing insects by making music with them. Life and work Rothenberg graduated from Harvard and took his PhD from Boston University. Looking back at his high school years in the 1970s, Rothenberg told Claudia Dreifus of ''The New York Times'', "I was influenced by saxophonist Paul Winter's ''Common Ground'' album, which had his own compositions with whale and bird sounds mixed in. That got me interested in using music to learn more about the natural world." As an undergraduate at Harvard, Rothenberg created his own major to combine music with communication. He traveled in Europe after graduation, playing jazz clarinet. Listening to the recorded song of a hermit thrush, he heard st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thunder
Thunder is the sound caused by lightning. Depending upon the distance from and nature of the lightning, it can range from a long, low rumble to a sudden, loud crack. The sudden increase in temperature and hence pressure caused by the lightning produces rapid expansion of the air in the path of a lightning bolt. In turn, this expansion of air creates a sonic shock wave, often referred to as a "thunderclap" or "peal of thunder". The scientific study of thunder is known as ''brontology'' and the irrational fear (phobia) of thunder is called ''brontophobia''. Etymology The ''d'' in Modern English ''thunder'' (from earlier Old English ''þunor'') is epenthetic, and is now found as well in Modern Dutch ''donder'' (cf. Middle Dutch ''donre''; also Old Norse ''þorr'', Old Frisian ''þuner'', Old High German ''donar'', all ultimately descended from Proto-Germanic *''þunraz''). In Latin the term was ''tonare'' "to thunder". The name of the Nordic god Thor comes from the Old Norse ... [...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] |
Musique Concrète
Musique concrète (; ): "[A] problem for any translator of an academic work in French is that the language is relatively abstract and theoretical compared to English; one might even say that the mode of thinking itself tends to be more schematic, with a readiness to see material for study in terms of highly abstract dualisms and correlations, which on occasion does not sit easily with the perhaps more pragmatic English language. This creates several problems of translation affecting key terms. Perhaps the most obvious of these is the word ''concret''/''concrète'' itself. The word in French, which has nothing of the familiar meaning of "concrete" in English, is used throughout [''In Search of a Concrete Music''] with all its usual French connotations of "palpable", "nontheoretical", and "experiential", all of which pertain to a greater or lesser extent to the type of music Schaeffer is pioneering. Despite the risk of ambiguity, we decided to translate it with the English word ''conc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Terminology
A variety of musical terms are likely to be encountered in Sheet music, printed scores, music reviews, and program notes. Most of the terms Italian musical terms used in English, are Italian, in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings. Most of the other terms are taken from French language, French and German language, German, indicated by ''Fr.'' and ''Ger.'', respectively. Unless specified, the terms are Italian or English. The list can never be complete: some terms are common, and others are used only occasionally, and new ones are coined from time to time. Some composers prefer terms from their own language rather than the standard terms listed here. 0–9 ; 1′ : "sifflet" or one foot organ stop ; I : usually for Violin family, orchestral string instruments, used to indicate that the player should play the passage on the h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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