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BL
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| Record Number
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1013672
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| Doc. No
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b768042
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| Main Entry
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Beament, James,1921-2005.
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| Title & Author
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How we hear music : : the relationship between music and the hearing mechanism /\ James Beament.
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| Publication Statement
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Rochester, NY :: Boydell Press,, 2001.
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| Page. NO
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xiv, 174 pages :: illustrations ;; 25 cm
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| ISBN
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0851158137
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: 0851159400
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: 9780851158136
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: 9780851159409
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| Bibliographies/Indexes
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Includes bibliographical references (pages 171-172) and index.
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| Contents
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1. Preliminaries : Musical arithmetic ; Musical sensations ; Sound ; Pitch and frequency ; Transients ; Auralising ; Representing intervals ; About hearing ; Time in music -- 2. Aural archaeology : The origins of music: making noises ; Noise-making artefacts ; Sustained-pitch instruments.
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11. Time and rhythm : Introduction ; The origin of time-patterned sound ; Time in pitched music ; Time and notation ; Obtaining the pulse ; The conductor ; Time and the beginner ; Variations on a pulse ; You can't write it down ; Metronomes and click tracks ; What is rhythm? -- 12. Conclusions : We all hear the same thing ; The origins of music ; Memory ; Other pitch systems ; Believing is hearing ; Pleasure and wonder.
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3. Hearing selects intervals : Introduction ; The pentatonic scale ; The pitch ratios ; Derivation of the pentatonic scale ; Using the scale ; The octave ; The extension of the pentatonic scale ; The heptatonic scales ; A visually determined scale ; Drones ; The historical puzzle ; Non-harmonic scales -- 4. The beguiling harmonic theory : Helmholtz resonators ; Instrument harmonics ; The flaw in the harmonic theory ; The real questions about harmonics ; Tone and timbre ; Identifying instrument sounds ; Defining tone ; Timbre and discriminating pitch ; Investigating tone ; The harmonic contribution to pitch ; Harmonicity and tone ; The selection of instrumental tone ; Timbre and the player ; Vibrato ; The susceptibility of hearing ; Harmonic noises and the seventh fairytale ; Conclusion.
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5. The imitating voice -- 6. Hearing simultaneous pitches : The medieval situation ; The organ ; The discovery of a twelve-pitch scale ; The tuning problem ; The just scale ; Selecting intervals ; Harpsichord interval sensations ; Beats ; How do we judge intervals? ; Interval pitch patterns ; The reality of simultaneous intervals ; Equal-temperament ; The piano ; Consecutive intervals ; Intonation and pitch stability.
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7. Patterns in harmony : The basis of harmony ; The harmonic sensation ; Harmonic shorthands ; Learning harmony ; Other simultaneous-pitch phenomena ; The three-tones paradox ; Can we hear harmonics? -- 8. Loudness : The basic dynamic scale ; Loudness and frequency ; Loudness and tone ; Loudness and pitch ; Varying loudness.
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9. Music through the hearing machine : The questions ; The evolutionary background ; An overview of the hearing system ; The hearing range ; The sound receiver ; The travelling wave ; Signaling loudness ; The hair cell's limitation ; The discovery of the sound code ; Pitch discrimination ; Minimum duration for pitch ; Producing a pure-tone sensation ; Signaling sound with harmonics ; The generation of hiss and buzz ; Low and high frequencies ; The creation of the pitch sensation ; The creation of tone ; Simple simultaneous intervals ; Other simultaneous intervals ; Chords ; Harmonicity ; Conclusions about intervals ; Consecutive pitches ; Polyphonic music ; The general musical pitch phenomenon ; Anomalies in pitch perception ; A really aberrant hearing system ; Tracking and the three-tones paradox -- 10. A sense of direction : Introduction ; Signaling loudness ; The direction-finding system ; The timing system ; Sensing transients ; Noise amalgamation ; The general characteristics of hearing ; Space sound ; Conclusions.
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| Abstract
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This book begins by discussing the early evolution of simple 'Western' tonal music; what exactly were the characteristics of the intervals and scales which hearing selected. It then considers problems such as what hearing has selected as instrumental tone, and why we have such a peculiar assessment of loudness; why is that independent of pitch, and why is hearing so sensitive to time? Does the mechanism of hearing determine our pitch discrimination, which differs so much across our hearing range? Amongst other things, this discussion leads to the conclusion that the harmonics of musical sounds, which are the basis of so much theory about music, did not and cannot play the role which has been so widely attributed to them ever since the work of Helmholtz in 1870. There follows a simplified account of the hearing mechanism: how musical sound is coded by the ear, the nature of the processing stations through which the information passes before it creates sensation in the cortex, and the extent to which it provides answers to the questions which have been raised. This produces a rather different view of the basis of some fundamental features of music from those which are commonly held. It also leads to the conclusion that music started with primitive instruments rather than with the human voice. Finally, the biological reasons for the hearing mechanism behaving as it does are explained, and thus the reasons for the sensations of music being experienced in the way they are.
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| Subject
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Hearing.
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Music-- Acoustics and physics.
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Musical perception.
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Audition (Physiologie)
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Musique-- Acoustique et physique.
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Perception de la musique.
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Hearing.
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Music-- Acoustics and physics.
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Musical perception.
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| Subject
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Hearing [MESH]
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Music [MESH]
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Hearing.
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Music-- Acoustics and physics.
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Musical perception.
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Auditieve waarneming.
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| Subject
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Muziek.
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| Dewey Classification
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781/.11
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| LC Classification
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ML3838.B43 2001
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| NLM classification
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77.42bcl
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