The sounds produced by nonperiodic vibrations are noise. One may listen to noise for an hour, a day or a year, and it remains just noise. But musical tones heard in a certain kind of succession produce a different result—the human ear and brain integrate them into a new cognitive experience, into what may be called an auditory entity: a melody.
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the consonance or dissonance of harmonies depends on the ratios of the frequencies of their tones.
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Helmholtz was concerned mainly with tones heard simultaneously. But his demonstration indicates the possibility that the same principles apply to the process of hearing and integrating a succession of musical tones, i.e., a melody —and that the psycho-epistemological meaning of a given composition lies in the kind of work it demands of a listener’s ear and brain.
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Music is the only phenomenon that permits an adult to experience the process of dealing with pure sense data. Single musical tones are not percepts, but pure sensations; they become percepts only when integrated.
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The scientific research that would be needed to prove this hypothesis is enormous. To indicate just a few of the things which proof would require: a computation of the mathematical relationships among the tones of a melody—a computation of the time required by the human ear and brain, to integrate a succession of musical sounds, including the progressive steps, the duration and the time limits of the integrating process (which would involve the relationship of tones to rhythm)—a computation of the relationships of tones to bars, of bars to musical phrases, of phrases to ultimate resolution—a computation (…)
Ils m'ont dit que ça ne pouvait pas être une note, parce que : "You can have a tone (just tap a bell) without identifying it's place within a scale, as a note does."
Est-ce qu'il y a quelque chose qui vous penser ici que le mot "tone" implique une absence de modulation ? (C'est une vraie question.) - Compositeur .org - Forum des Compositeurs : Musique et Composition
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