By Guerino Mazzola
This ebook explains music’s accomplished ontology, its manner of lifestyles and processing, as laid out in its compact characterization: tune embodies significant verbal exchange and mediates bodily among its emotional and psychological layers. The booklet unfolds in a easy discourse in daily language that's obtainable to every body who desires to comprehend what this subject is ready. Musical ontology is behind schedule in its basic dimensions: its realities, its significant conversation, and its embodied utterance from musical creators to an viewers.
The authors' process is acceptable to each musical style and is medical, the booklet is appropriate for non-musicians and non-scientists alike.
Read or Download All About Music: The Complete Ontology: Realities, Semiotics, Communication, and Embodiment PDF
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Additional info for All About Music: The Complete Ontology: Realities, Semiotics, Communication, and Embodiment
We will apply the theories of Ferdinand de Saussure, who is perhaps the most inﬂuential scholar of semiotics, to analyze and exemplify music as a symbolic system. In an overview of more contemporary analyses of symbolism in music, we will discuss the HarmoRubette software and Riemann harmony. Additionally, we will discuss the Babushka Principle of semiotics, which leads into such topics as connotation, motivation, and metatheory. — G— Fig. 1: The sign’s anatomy. © Springer International Publishing AG 2016 G.
1 The Role of the Mental Reality 55 Fig. 12: All intervals from pitch C with the numbers of semitones. to number distance c = 3 from B, the formula maps it to 5 × 3 + 2 = 17, which corresponds to 5 on the circle. Therefore consonance 3 (minor third) is mapped to dissonance 5, the fourth. You see that every consonance is mapped to a dissonance, and vice versa, by the given formula d = 5 × c + 2. Fig. 13: The symmetry of the chromatic scale. This formula is central to understand the rules of counterpoint , and we see that the chromatic scale has this symmetry in its hidden regular structure.
23). After all of that, this neural information is ﬁnally expressed in some form of behavior at last! 30 3 Physical Reality Fig. 23: Scheme of a human neuromuscolar junction: 1. end of the motor nerve with presynaptic terminal; 2. mitochondrion; 3. synaptic vesicles; 4. acetylcholine receptor; 5. muscle; muscular cell membrane: sarcolemma. Drawing by Yan Pang. We can see such connection also as a bridge between the reality of the mind, with thinking transformed into electric impulse of nerves, to the physical/physiological reality of movements in space and time of human body, moved by muscles.
All About Music: The Complete Ontology: Realities, Semiotics, Communication, and Embodiment by Guerino Mazzola