Week 4

Question 0

Detect ability studies

Answer 0

Threshold for determining differences in diatonic interval is 20 cents. Easier if melodic though.
How you play in performance Chang things too.
Individual performers will compensate in quartets and the like,
Deviate the least from equal temperament.

Question 1

Scales re re soc illy constructed, vary around world.

Answer 1

Turnings of scLes, mathematical approaches, 4
Pythagoras 3:2 fifths, ultiply it, but 12.5 cents out
Mean tone,
Just intonation, 6:5:4, less beats
Equal temperament. 1.059

Question 2

What is consonance an dissonance why so imp.

Answer 2

Have many adjectives, but going back to psychophysical dimensions.
Helmholtz: beats generated from two notes overtones create con or dis.
Problem of phase, melodic, binaural beats issues, does not apply to timbres or pitch height, esp higher notes, hear less overtones. Loud dr more dissonant. If true out of tune p5 should be horrible but isn’t. So theory is not terribly valid.

Stumpf: tonal fusion,
Any two notes played togethor, consoannt more likely to be perceived as 1 note. Not a theory. Only for western culture.

Lips: Conson ance depends upon the difference of frequencies. Simple, simple. Less taxing. Cons. Mistuned consonnances should be taxing though. Debunk this theory too.

Lippse Meyer law: relationship 2: odd integer, one having 2 in it will be point of rast. Even ratios stable.
Problem doesn’t hold for non western listeners. Everything we are hearing is therefore a a atte of cultural conditioning.

Schoenberg: based on overtone series, eRly intervals are the ones that are consonant. Inversion, issues. Compound, rational missing.

Physiological explanation: critical bandwidth theory.
1965, if there is overlap of displacement of Basilar membrane there will be dissonance. Overlap of 75% hear dissonance.
100-200hz most dissonant major third. Using non musicians though. Theory holds! But only for non musicians and sine tones.

Psychological: environmental factors. Farnsworth explanation.
Putting context into picture
Intrinsic value of notes.

Question 3

Loudness summation,

Answer 3

Spread out louder than overlap, as overlap in critical band less to softer sound.

Question 4

Rhythm

Answer 4

Vague ambiguous terms, inconstant
So hard to describe, grouping, beats meter so much. And tempo
Meter, pace, accent, pattern.

Question 5

Critical bandwidth theory in context of cons and dis

Answer 5

according to theory areas basilar membrane overlap.

Maximum dis 1/4 of width of critical bandwidth. Two notes.

Question 6

Basic beat pulse.

Answer 6

Underlying regular repeating pulse.

Question 7

Tempo or pace

Answer 7

Speed how fast, bpm, system of

Grave largo lento, presitissimo, 40-208

Question 8

Meter

Answer 8

Beats of eXh measure, dvide musical events into discrete units.
Grouping of 4/4 or 3/4 etc.

Question 9

Accent, how made

Answer 9

IndividUL notes, local level.

Psychophysical, psychological, brought out more, consequently number of ways of oroducing accents,
Louder, easier,

Tone quality change,
Length, longer. 
Slight temporal displacement
Embellishment, 
Harmonic change
Familiarity

Question 10

Rhythmic units, like iambic pentameter, poetic clumps

And rhythmic precision

Answer 10

March prelude counterpoint, 12 tone strict rhythm

Solo,,less strict

Though rare anyone play strictly. No rhythmic variation, only done by a computer. Sequencers. So they add human feel. Randomness error in rhythm added, not predetermined, interesting.
Prefer rhythmic deviation, not too much but some.
Momentum, systematic,

Question 11

Rubato

Answer 11

Robbed stole time, after slower
Pianists always do it in both hands.

Experts students compared.
Experts vary greater freedom, more than students.
Variability with perforamnce in a piece.

Rate descending line evenly spaced notes. Slower descending.

Question 12

3:1 ratio of notes

Answer 12

Over played 3.5-1 to emphasize rela.
7:1 played 6:1
Categorical perception, innacuracy, continuum, in middle accept something longer or less, but close enough.

I s think to count clap, tactus, average 2:1

Question 13

Musical style.

Answer 13

Blue Danube, 
1-2-3
Not .33-.33-.33
Hear 
.33-.40-.26

Why do it in this waltz, Viennese waltz, that’s the way it goes.

Question 14

Cross rhythm

Answer 14

3:2

3: 5
3: 7
4: 5
4: 9
5: 6
5: 8

Study on cross rhythms, Scriabin 
Tone rows non repeating, 1-3 octaves  tone quality differentl
Simple and complex cros rhythms
 3 cross rhythms, results were very similar,
1:2 1;3 2;3 
Turns out, all around 80-85% 
Not paying close attention. 
3:4 43%
2:7 30%
2:5 28%
Lower and lower
5:7 7.5%

Done in two parts, second part was better than on first half.
More accurate longer test went on. Learnt how to do it in process.
Can be learned.
Begin to deal with rhythmic complexity

Question 15

How to rate rhythmic complexity in wstern music

Answer 15

Sometimes more complex, very sophisticated in pitch. In western music.
But rhyfthm, has no real independant existence.
Based usually on 2-3-4

Stravinsky, syncopTion and meter Changes.
Jazz, ex. 19:8 10x5x4
Carter 4th string quartet, 1:126:
8:6:5:7

Hard to absorb complex pitch and rhythm , usually one or other.

Question 16

Armenian Senegal, drums

Answer 16

Different rhythms.

Question 17

Theories of the development of the rhythmic response

Answer 17

Q wheee does rhythm come from, dance first or sound lol. Chicken egg stuff. 
Rhythmic response. 
Heart beat, physiology, 
 Doesn't explain rhythmic response well
Motor response, need Motion, movement. Does not explain everything. 
Occupational preferences for tempos. 
Insticnt, born with. 
Learned. Response,