Springer Handbook of Systematic Musicology PDF
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Springer Handbook oƒ Systematic Musicology Bader Editor 123 Springer Handbook of Systematic Musicology Springer Handbooks provide aconcisecompilationofapproved key information on methods of research, general principles, and functionalrelationshipsinphysical andappliedsciences.Theworld’s leading experts in the fields of physicsandengineeringwillbeas- signedbyoneorseveralrenowned editorstowrite thechapterscom- prisingeach volume.Thecontent is selected by these experts from Springersources(books,journals, onlinecontent)andothersystematic andapprovedrecentpublicationsof scientificandtechnicalinformation. Thevolumesaredesignedtobe usefulas readable desk reference booktogiveafastandcomprehen- siveoverviewandeasyretrievalof essentialreliablekeyinformation, includingtables,graphs,andbibli- ographies.Referencestoextensive sourcesareprovided. H 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 LibraryofCongressControlNumber: 2018930527 ©Springer-VerlagGmbHGermany2018 Thisworkissubjecttocopyright.AllrightsarereservedbythePublisher, whether the whole or part of the materialis concerned, specifically the rights of translation, reprinting, reuse of illustrations,recitation, broadcasting,reproductiononmicrofilmsorinanyotherphysicalway,and transmissionorinformationstorageandretrieval,electronicadaptation, computersoftware,orbysimilarordissimilarmethodologynowknownor hereafterdeveloped. The use ofgeneral descriptivenames,registerednames,trademarks, servicemarks,etc.inthispublicationdoesnotimply,evenintheabsence ofaspecificstatement,thatsuchnamesareexemptfromtherelevant protectivelawsandregulationsandthereforefreeforgeneraluse. 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Productionandtypesetting:le-texpublishingservicesGmbH,Leipzig Typographyandlayout:schreiberVIS,Seeheim Illustrations:HippmannGbR,Schwarzenbruck Coverdesign:eStudioCalamarSteinen,Barcelona Coverproduction:WMXDesignGmbH,Heidelberg Printedonacidfreepaper ThisSpringerimprintispublishedbySpringerNature TheregisteredcompanyisSpringerInternationalPublishingAG Theregisteredcompanyaddressis:Gewerbestrasse11,6330Cham,Switzerland 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]
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