By Guerino Mazzola
This booklet explains music’s finished ontology, its manner of life and processing, as laid out in its compact characterization: song embodies significant conversation and mediates bodily among its emotional and psychological layers. The ebook unfolds in a simple discourse in daily language that's obtainable to every body who desires to comprehend what this subject is set. Musical ontology is not on time in its primary dimensions: its realities, its significant conversation, and its embodied utterance from musical creators to an viewers.
The authors' process is appropriate to each musical style and is clinical, the e-book 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 resources for All About Music: The Complete Ontology: Realities, Semiotics, Communication, and Embodiment
Stapes; Inner ear: 7. ) oval window, 9. ) round window, osseous labyrinth, containing 11. semicircular canals, 12. cochlea; 13. Eustachian tube (in a plane anterior with respect to the section); 14. temporal bone. Drawing by Maria Mannone. A sound wave’s journey into the ear begins with the pinna, the cartilaginous formation responsible for ﬁltering incoming sound. From there it enters the concha, the opening that leads to the ear canal. The ear canal is a short tube in the outer ear, and is the last part of the ear in which sound is transmitted through the air.
21. This implies that the local coherence in the right hemisphere is lower than for normal humans. This has been conﬁrmed by EEG investigations similar to Petsche’s coherence measurements. The labyrinthic existentiality of schizophrenics appears as a consequence of the thinned-out network of neurons: They have to run through a labyrinth of axons instead of performing on a dense neuronal maze. 5). All of this should also have consequences for the relation of schizophrenic persons to music. It would imply that they have a lowered performance in creating, recognizing, and processing complex musical shapes.
1 The Role of the Mental Reality 53 Fig. 8: Euler space. Fig. 9: Pitch classes. 5 The Hidden Symmetry of Counterpoint Although the chromatic octave shown in Fig. 8 looks very irregular, it has a unique hidden symmetry, as shown in Fig. 13. This symmetry is important to understand musical counterpoint. What is counterpoint? In short, this is the art of composing music with a number of diﬀerent voices. When one considers the intervals between (simultaneous) notes of diﬀerent voices, coun- 54 5 Mental Reality Fig.
All About Music: The Complete Ontology: Realities, Semiotics, Communication, and Embodiment by Guerino Mazzola