Springer Handbook of Systematic Musicology

1089 Pages·2018·67.7 MB·English

by  Rolf Bader

Springer

Handbook
oƒ
Systematic
Musicology
Bader
Editor
123
Springer Handbook
of Systematic
Musicology
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Springer
Handbook
of Systematic Musicology
Rolf Bader (Ed.)
With952Figuresand61Tables
K
Editor
RolfBader
UniversityofHamburg
InstituteofSystematicMusicology
NeueRabenstr.13
20354Hamburg
[email protected]
ISBN:978-3-662-55002-1 e-ISBN:978-3-662-55004-5
https://doi.org/10.1007/978-3-662-55004-5
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V
Preface
Systematic Musicology is a field that grew tremen- plucked, bowed, blown, etc. The Berlin phonogram
douslyoverthelastdecadestosuchanextentandinto archive,recordingmusicfromaroundtheworldonwax
so many topics, that for quite some time researchers cylinders, started with a recording of a Thai phi pha
as well as students in the field have been demand- orchestrain theBerlin Tiergartenin 1900.Jaap Kunst
ingacomprehensiveoverviewofthedifferentpartsof was among the first to collect recordings in today’s
the discipline. As the field of Systematic Musicology Indonesia in the 1920s and 1930s developing Ethno-
is so wide, there is a need for introductions, reviews, musicologyon his many fieldtrips. In the US, Charles
teachingmaterials,andthedisplayofrecenttrendsfor Seeger was co-founder of the Society of Comparative
researchers in related fields who want to connect and Musicology and Frances Desmond was collecting the
interactwithinthishighlyinterdisciplinaryarea.There- musicmainlyofnativeDakotaIndians.
fore, the International Working Group of Systematic Carl Stumpf was among the first to introduce mu-
andComparativeMusicologydecidedtocompilesuch sic psychology in modern terms, by discussing how
avolume,coveringthemajorareasofresearchinSys- a pitch sensation can appear from a multisensory in-
tematicMusicology,andmakingthemeasilyaccessible put of many frequencies entering the ear. A distinct
tothecommunity.Thisvolumetriestopresentthestate- influenceontheseearlyfindingscamefromGestaltpsy-
of-the-art in the field while also giving an overview chologists, who indeed first used musical melodies to
of basic and fundamental methodologies and termi- derive their Gestalt laws. Early experiments on musi-
nologies.Italsodiscussesrecenttrendsandtopicsand caltimbrewereperformedagainbyStumpfandothers,
therefore hopefullyis also inspiringin terms ofan in- especiallyfocusingonmusicandspeechaswellason
terchangeofideasandsubjects. musicaltransientsandtonecolor.
SystematicMusicologyisahighlyinterdisciplinary Manyproblemsofmusicpsychology,liketheprob-
field, which it has been ever since its ancient origins lem of tonal fusion addressed by Stumpf, were based
withphilosopherslikePythagoras,ArchytasofTarrent, on the experimental evidence that sounds consists
or Aristoxenos. Here the connection between music, of overtones, which was published by Hermann von
mathematics, geometry, astronomy, well-being, poli- Helmholtzin1863.Thegrowingfieldofelectronicmu-
tics, and other fields were discussed. Much attention sic enhanced research in these fields in the Bell labs
wasgiventomusictheory,especiallytonalsystemsor in the US or in the Heinrich-Hertz Institute for vi-
rhythm theory. Ancient writings of music theory, like bration of Karl Willy Wagner in Berlin, where also
the Indian Natyashastra on music and the arts, or the Barkhausenwasworkingontubesandonthelightbow
musictheoryembeddedintheancientTamilepicCilap- for building a loudspeakerand microphonein onede-
patika¯ram of today’s Sri Lanka show complex tonal vice.Researchonmusicalinstrumentswasprominently
system theories. The Chinese Yueji from 1st and 2nd performed by Felix Savart around 1800, especially
century BC is not only a music theory, but also dis- on violins, building a trapezoid-shaped violin body
cusses aspects of nature and the social role of music. or an octobass ranging over two floors. Also around
In all these traditions musicology, concerned with all this timeFriedrich Chladniwas discoveringlongitudi-
aspectsofmusic,continuedtothepresentdayinmany nal waves and building musical instruments with this
forms. invention, the clavicylinder and the euphonium, and
In modern times the roots of Systematic Musi- wrote the first comprehensive work on vibrating mu-
cology lie in Comparative Musicology, which tries to sicalsystems.
determine laws and universals by comparing the mu- All these and many more early works building up
sical traditions of the world. This was only possible the field of Systematic Musicology were followed by
from around 1900 after the invention of the Edison a tremendous increase in the number of works after
phonograph, which made it possible for the first time WWII. Today,the topics discussedin SystematicMu-
to record and playback music on wax cylinders. Fol- sicology range from Musical Acoustics and Musical
lowingthesystematicapproach,rightfromthestartthe SignalProcessing,MusicPsychologyandNeuromusi-
Hornbostel/Sachsclassificationofmusicalinstruments cology,MusicEthnologyandComparativeMusicology,
usedataxonomybasedontheacousticalandmechan- Musical Syntax and Philosophy to Musical Applica-
ical driving mechanisms of musical instruments, i.e., tions in modern music production and distribution,
VI Preface
alongside many related topics. The aim of the disci- automatic musical score extraction and adaptive mu-
pline is still to understand music, its production and sic control. Modern synthesis methods are discussed
perception, its cultural, historical and philosophical in terms of multichannel audio reproduction systems
background in a systematic way. This cannot be done using wavefield synthesis, physical modeling using
bydiscussingoneaspectalone.So,forexample,thede- Finite-Differencemethods(FDM),aswellashardware
velopmentofmusicalinstrumentsisshapednotonlyby implementationofFDMwithhighlyparallelprocessing
tradition, butby acoustical, physiologicaland psycho- Field-ProgrammableGateArray(FPGA)hardware.
logicalconstraints,theneedsofdifferentcompositional Part C, edited by Stefan Koelsch, turns to Music
styles,tobetechnicallystate-of-the-art, orbypolitical Psychology,addressingmanyaspectsofmusicpercep-
and economic demands. Therefore, Systematic Musi- tion and associated musical parameters. It starts with
cology needs to considerall aspects of music so as to a review of music time perception, which is a basic
aim for a system of music, the Kunst (art) in the Re- issue of an art form developing in time. This leads
naissanceorBaroquesenseofasystemofrules,asJ.S. to the topic of the dependency of sensual information
BachusedtheterminhisDieKunstderFuge(Theart stored in memory, both short- and long-term memory
of the fugue). This late work by Bach concerned dis- processing and auditory working memory. Here many
playing the rules and possibilities that lie within the findingsfrom brain research usingEEG, fMRI, MEG,
polyphonicsystemoffuguecomposition. or related techniques are reported and discussed. On
So Systematic Musicology believes that under- a higher level musical syntax needs to be understood,
standing music can only truly be achieved by con- both in terms of music theory often based on syntax
sidering all aspects of music. The Handbook tries to rulesfoundinspeechanditsrelationstomusic,aswell
reflect this interdisciplinary nature of Systematic Mu- as in terms of experimentalfindingsagainusing brain
sicology in seven sections. These sections follow the research techniques.Followingonfrombrainresearch
maintopicsinthefield,MusicalAcoustics,MusicPsy- findings,rhythmand beatperception are discussed,as
chology,andMusicEthnologywhilealsotakingrecent well as the relation between musicperception and ac-
research trends into consideration, such as Embodied tive musicproduction.Finally, musicand emotion are
MusicCognitionandMediaApplications.Othertopics, discussedintermsoftheirrelationtosensorydata.
likeMusicTheoryorPhilosophyofMusicarealsodis- Part D, edited by Albrecht Schneider, is devoted
cussed.Ofcourse,theycouldalsohavebeenpresented toPsychoacoustics,itsfundamentals,history,methods,
assectionsintheirownright,takingtheirsalienceinto and findings. The philosophical background of sensa-
account.Thesetopicsareincorporatedwithinoneofthe tion as found in ancient as well as Renaissance and
main sections under recent developments in the field. Baroquetimesisdiscussedandbasicmodelsofpercep-
This may, however, be subject to respective develop- tionandpsychophysicsarepresented.Thereafter,pitch
mentsoverthenextdecades. and pitch perception is addressed, with basic parame-
Part A,editedbyRolfBader,presentsanoverview ters like virtual or residue pitch, tonal fusion, scales,
ofthestate-of-the-artofresearchinMusicalAcoustics. or intonation.Theauditorypathway is presented from
After an introduction to basic models, mathematical thecochleauptotheauditorycortex.Thentimbreand
frameworks and formulas, the section discusses mate- sound color are discussed in terms of their notion as
rials for musical instruments as well as modern mea- well as their use in musical instrument organology,
surement techniques used in the field. Then, the main both of acoustic as well as electronic music, together
instrument families are discussed, string and wind in- withtherelatednessofpitchandtimbreanditsusefor
struments,organsandpercussioninstruments,interms audiosegregation.Finally,loudnessistreatedasapsy-
of their basic properties as well as special features. chologicalsensationrelatedtophysicalsoundpressure
A discussion on nonlinearities and synchronization in level, anddifferentloudnessmodelsarepresentedand
musicalinstrumentstriestogiveaglobalframeworkfor discussed in modern disco and club performance sce-
instrumentfamilies.Finally,modernRoomAcousticsis narios.
discussed,bothinterms ofgeneralfindingsas wellas PartE,editedbyMarcLeman,presentstheemerg-
modelingtechniques. ing field of Embodied Music Cognition. After an in-
In Part B, edited by Jonas Braasch, modern Musi- troduction presenting ontological and epistemological
cal Signal Processing is discussed. Again the section foundations, the method is applied to musical param-
startswiththefundamentalsofmodernmusicrecording eters like timing, expressiveness, or expectation. The
studio equipment and methods, digital audio process- role of musical gestures are discussed and new trends
ing using delay lines and waveguides, and an intro- and questionsare addressed. The ideas are then trans-
duction to Fourier and convolution methods. It then ferred to compositional ideas using sonic objects as
turns to sound source separation and state-of-the-art basiccompositionalunitsoftimbreintermsofanalysis
Preface VII
andsynthesis.Musictherapyisalsosubjecttoembod- The final Part G, edited by Rolf Bader, discusses
imentapplications,wheretherelationbetweenrhythm problemsinmodernEthnomusicologyalongwithsome
perceptionandbodycoordinationisshowntoimprove examples of musical styles from around the world.
well-being and the health of patients. Finally, the in- It begins with two papers introducing the history of
teraction of musicians and listeners using sensors and the discipline focusing on the relation between Sys-
othertechniquesistreated,bothintermsofbasicframe- tematic Musicology and Ethnomusicology, as well as
works as well as technical issues concerning sensors discussingmodernAnalyticalEthnomusicology,focus-
andtheirapplications. ingonmusicalfeatures,instruments,andcompositions
PartF,editedbyIsabelBarbancho,concentrateson rather than extramusical features like social or eco-
theapplicationsidewithintheModernMediaApplica- nomic issues. Displaying relations between a wide
tion domain of music production and reproduction in range of musical styles, a systematic overview of the
termsofMusicInformationRetrieval(MIR). Oneaim musicofAfricaispresented.Asanexampleofthere-
is to extract musical features from audio files and use lationship between musical diversity and relatedness,
themforcontentanalysis,songsuggestions,orfurther themusicofSoutheastAsianminoritiesareaddressed.
analysis. Problems of data mining, automatic analy- Many musical features, like the origin of music or its
sis,orvisualizationsarediscussedonatechnicallevel. historical development are often discussed in analogy
Advancedhearing aidsare alsoasubjectofmusicap- withthemusicofthestoneage,thereforeanoverview
plications,especiallyasnormalhearingaidsonlyhave of music archaeology is given. As improvisation is
poor abilities to reproduce music. Modern tools and a common feature of many musical styles around the
ideashelptoenhancemusicperceptionthroughhearing world, a framework, as well as problems and discus-
aids. Applications of MRI also improve music educa- sions on free improvisation are also present. Finally,
tion and education as a whole, and this is discussed music and its relation to politics is presented with the
in general as well as in a case study. Embedding mu- historyofprotestsongsinthepostwarUS.
sicinamediastructureisanotherrecentchallenge,as WehopethattheHandbookisnotonlyofusetostu-
usersexpecthighlyautomaticguidanceandhelptools, dentsinthedisciplinebutalsotoadvancedscholarsand
aswellasmanyadditionalfeaturesbesidestheauditory peopleworkingoutsidethefieldthatareinterestedinan
stream. Changes in music production and perception overviewofSystematicMusicology,itsrecentdevelop-
duetomodernmediaarearecentissuediscussedalong ments,findings,andproblems.Ofcoursenotallissues,
withtheirdevelopmentoverthelastdecades.Applica- problems,andtopicsofmodernSystematicMusicology
tions to music ethnology are treated in the domain of maybeaddressedinasingleHandbook,especiallynot
Computational Ethnomusicology, detecting high-level for a field that is in its own right so interdisciplinary.
features of non-Western music styles through MIR. Still, it is our hope that researchers from other fields
Also composition is due to automatization, especially may be inspired by the topics and problems found in
voice but also for other instruments. Modern instru- this Handbook and may enlarge their views in a truly
ment building uses sensors or additional components interdisciplinaryway.
toenhancemusicalinstrumentfeatures,alsoaddressing
aworldmusicapproach. Hamburg,January2018
RolfBader
IX
About the Editor
RolfBaderisProfessorforSystematicMusicologyattheInstituteofSystematicMusi-
cology,UniversityofHamburg,Germany.HestudiedSystematicMusicology,Physics,
Ethnology,andHistoricMusicologyattheUniversityofHamburgwhereheobtained
hisPhDandHabilitationontopicsofMusicalAcoustics,MusicPsychology,andMusi-
calSignalProcessing.HewasavisitingscholarattheCenterforComputerMusicand
Research(CCRMA)atStanfordUniversity(2005-2006).Hismajorfieldsofresearch
aremusicalacousticsand musicalsignalprocessing,musicalhardware andsoftware
development,musicpsychologyandneurocognition,musicethnology,andphilosophy
ofmusic.
Heisco-editoroftheSpringerseriesCurrentResearchinSystematicMusicology
and publishedseveral bookshere as an author,like Nonlinearitiesand Synchroniza-
tioninMusicalAcousticsandMusicPsychologyorComputationalMechanicsofthe
ClassicalGuitar,orasaneditorlikeSound–Perception–PerformanceorConcepts,
Experiments,andFieldwork:StudiesinSystematicMusicology,alongsidemanycon-
tributingbookchaptersorpeer-reviewedpapers.
He has conducted fieldwork as an Ethnomusicologist in Bali, Nepal, Thailand,
Cambodia, Myanmar, Sri Lanka, China, and India since 1999. He has also worked
as a professional musician, composer, artist, running recording studios, as a music
journalist,leadingexhibitions,andrunningacinema.
XI
List of Authors
JakobAbeßer StefanBilbao
FraunhoferIDMT UniversityofEdinburgh
Ehrenbergstr.31 AcousticsandAudioGroup
98693Ilmenau,Germany MayfieldRd.
[email protected] Edinburgh,EH93JZ,UK
[email protected]
JuditAngster DavidBorgo
FraunhoferInstituteofBuildingPhysics(IBP) UniversityofCaliforniaSanDiego
Acoustics 9500GilmanDr.
Nobelstr.12 LaJolla,CA92093-0099, USA
70569Stuttgart,Germany [email protected]
[email protected]
JonasBraasch
RensselaerPolytechnicInstitute
SimhaArom
1108thSt.
12rueErnestPsichari
Troy,NY12180,USA
75007Paris,France
[email protected]
[email protected]
ElviraBrattico
AarhusUniversity
RolfBader
DepartmentofClinicalMedicine
UniversityofHamburg
Nørrebrogade44
InstituteofSystematicMusicology
8000C,Aarhus,Denmark
NeueRabenstr.13
[email protected]
20354Hamburg,Germany
[email protected]
EstefaníaCano
FraunhoferIDMT
AnaM.Barbancho Ehrenbergstr.31
UniversidaddeMálaga 98693Ilmenau,Germany
ATICResearchGroup,Dep.Ingenieríade [email protected]
Comunicaciones,ETSITelecomunicación
AminChaachoo
CampusdeTeatinoss/n
Tetouan-AsmirCenter
29071Malaga,Spain
Place9Avril
[email protected]
Tetuán,Morocco
[email protected]
IsabelBarbancho
UniversidaddeMálaga MarshallChasin
ATICResearchGroup,Dep.Ingenieríade Musicians’ClinicsofCanada
Comunicaciones,ETSITelecomunicación 340CollegeSt.
CampusdeTeatinoss/n Toronto,M5T3A9,Canada
29071Malaga,Spain [email protected]
[email protected]
JesúsCorralGarcía
UniversidaddeMálaga
JuanPabloBello DepartamentodeIngenieríadeComunicaciones,
NewYorkUniversity ETSITelecomunicación
35W4thSt. CampusdeTeatinoss/n
NewYork,NY10012,USA 29071Malaga,Spain
[email protected] [email protected]