All About Music: The Complete Ontology: Realities, by Guerino Mazzola

By Guerino Mazzola

This booklet explains music’s finished ontology, its manner of lifestyles and processing, as laid out in its compact characterization: track embodies significant communique and mediates bodily among its emotional and psychological layers. The publication unfolds in a simple discourse in daily language that's available to every person who desires to comprehend what this subject is set. Musical ontology is not on time in its primary dimensions: its realities, its significant verbal exchange, and its embodied utterance from musical creators to an viewers.

The authors' procedure is acceptable to each musical style and is medical, the ebook is appropriate for non-musicians and non-scientists alike.

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Additional info for All About Music: The Complete Ontology: Realities, Semiotics, Communication, and Embodiment

Example text

This network is known as the nervous system, and it is based on electrical and chemical communication between neurons. 21) is the source of all communication and coordination within the body, giving rise to every action, thought, or unconscious process you have ever experienced. The expansive network of a total of one hundred billion (1011 ) neurons, which speak this language, is responsible for perceiving, integrating, and transmitting information throughout the body. Understanding the process of communication in the nervous system requires an understanding of the structure and function of neurons.

6. Fig. 6: Zarlino tetractys. As the pitch is essentially the logarithm of frequencies, it is a linear combination of the logarithm of 2, 3 and 5: 1 The Pythagorean tetractys only includes the first four rows. 52 5 Mental Reality pitch(f ) ∼ o. log(2) + q. log(3) + t. log(5). It can be shown that these three logarithms behave like three vectors in three-space, looking in different directions. This means that a pitch can be represented as a point in a three-space, see Fig. 5 for a graphic visualization.

This formula gives quite good values for the intervals in the chromatic scale. In his theory, Euler argued that the human brain would interpret (and substitute) any interval—being a deformed version of one of the just intervals—to the intervals having simple frequency ratios such as 2/1, 3/2, 4/3, 5/4. However, as is shown in the Fig. 15, counterpoint has a different definition of consonant intervals (marked by blue triangles). This means that counterpoint theory does not follow the mathematical model used by Euler.

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