Search

Consonance perception has been extensively studied in Western adults, but it is less clear how this perception develops in children during musical enculturation. We investigated how this development occurs in 4- to 6-year-old children by examining two complex musical skills (i.e., consonance and tonality preferences). Accordingly, we developed a child-focused approach to understand the underlying developmental processes of tonality and consonance preferences in 4- to 6-year-old children using a video interview format. As previous studies have confounded preference with perception, we examined each concept separately and measured perceptual abilities as categorization. For tonality, the ability to categorize tonal and atonal melodies developed by the age of 6 years. It is noteworthy that only children who could categorize successfully showed a preference for tonality at the age of 6. For consonance, we observed an early preference for consonance at 4 years of age, but this preference was only measurable with large differences between consonant and dissonant stimuli. We propose that tonality and consonance preferences develop during childhood with increasing categorization ability when the surrounding musical culture is marked by Western tonality and consonance. [ABSTRACT FROM AUTHOR]

Rectification of illumination is vital in enhancing the visibility of images acquired in suboptimal lighting conditions. Still, it remains a challenging yet intriguing process as many existing algorithms fail to meet expectations. Hence, a latent light manifestation (LLM) algorithm is introduced, beginning with a conversion to the HSV space, processing the V channel using the Naka-Rushton and exponential equations. Next, the two output images are blended using a two-step range-expansion blending approach. After that, a statistics-based tonality adjustment method and a dynamic range extension process are applied. Finally, a transfer to the RGB space is performed to produce the output image. The LLM is tested using three datasets, compared with eight contemporary algorithms, and the quality evaluations are carried out via five performance measures. The results denote that the developed LLM consistently outperforms existing algorithms, scoring the best according to the used measures and yielding visually pleasing results. [ABSTRACT FROM AUTHOR]

This paper examines the impact of environmental news coverage in US newspapers on stock markets. Using textual analysis with a dictionary‐based approach, we obtain several measures of attention, tonality and uncertainty in the coverage of environmental news in major US newspapers. We consider different weighting schemes to account for the visibility and relevance of the text sources, and several sets of newspapers to measure the possible impact of their editorial line. Our results show that greater attention to environmental news in the US media reduced the excess returns of carbon‐intensive stocks and increased their volatility over the last decade, especially when the coverage was uncertain. The opposite result holds for the most virtuous green assets. Restricting the corpus of texts to conservative newspapers mitigates the impact of coverage. Overall, our results illustrate how rising environmental concerns lead investors to change their asset allocation. [ABSTRACT FROM AUTHOR]

Music listening affects time perception, with previous studies suggesting that a variety of factors may influence this: musical, individual, and environmental. Two experiments investigated the effect of musical factors (tonality and musical tempo) and individual factors (a listener's level of musical sophistication) on subjective estimates of duration. Participants estimated the duration of different versions of newly composed instrumental music stimuli under retrospective and prospective conditions. Stimuli varied in tempo (90–120 bpm) and tonality (tonal-atonal), in a 2 × 2 factorial design, while other musical parameters remained constant. Estimates were made using written estimates of minutes and seconds in Experiment 1, and the reproduction method in Experiment 2. Two-way analyses of variance (ANOVAs) showed no main effect of tonality on estimates and no significant interactions between tempo and tonality, under any condition. Musical tempo significantly affected estimates, with the faster tempo leading to longer estimates, but only in the prospective condition, and with the use of the reproduction method. Correlation matrices using the Pearson correlation coefficient found no correlation between musical sophistication scores (measured using the Goldsmiths Musical Sophistication Index [Gold-MSI]) and verbal or reproduction estimates. In conclusion, together with the existing literature, findings suggest that (1) changes in tonality, without further changes in rhythm, metre, or melodic contour, do not significantly affect estimates; (2) small changes in musical tempo influence only prospective reproduction estimates, with larger tempo differences or longer stimuli being needed to cause changes in retrospective estimates; (3) participants' level of musical sophistication does not impact estimates of musical duration; and (4) empirical research on music listening and subjective time must consider potential method-dependent results. [ABSTRACT FROM AUTHOR]

Using songs to facilitate speech processing in noisy environments seems appealing and practical. However, current research suggests otherwise, possibly due to the simplicity of sung speech contours. This study investigates the effects of contour tonality on sung speech intelligibility in noisy environments. A cohort of 20 trained musicians and 20 nonmusicians were tested on the intelligibility of Mandarin sentences sung on tonal, atonal, and fixed-pitch melodies or normally spoken under three signal-to-noise ratios (SNRs: −3, −6, and −9 dB). Perceptual musical skills related to speech-in-noise perception were also assessed. Results showed that overall speech-in-noise intelligibility decreased as the SNR decreased, with spoken speech being more intelligible than sung speech. Sung speech intelligibility was higher for fixed- than variable-pitch contours, with no difference between tonal and atonal melodies. No musician advantage was reported for spoken speech. Musicians, nonetheless, outperformed nonmusicians in identifying sung speech across all melodic contour types. Moreover, the musician sung speech advantage correlated with enhanced music perception abilities on pitch and accent. These results suggest that musicians have an advantage in sung speech in noisy environments. However, melody tonality provided no additional benefits, suggesting that imposing tonality on sung speech does not improve speech perception in noisy environments. [ABSTRACT FROM AUTHOR]

Three phenomena, namely coordination-induced emission (CIE), aggregation-induced emission (AIE), and inner filter effect (IFE), were incorporated into the design of a ratiometric and color tonality-based biosensor. Blue fluorescent Al-based metal–organic frameworks (FMIL-96) were prepared from non-emissive ligand and aluminum ions via CIE. Interestingly, the addition of tetracycline (TC) led to ratiometric detection and color tonality, as the blue emission at 380 nm was quenched (when excited at 350 nm) due to IFE, while the green-yellowish emission at 525 nm was enhanced due to AIE. Based on that, an ultra-sensitive visual-based color tonality mode with smartphone assistance was developed for detection of TC. The sensor exhibited a linear relationship within a broad range of 2.0 to 85.0 μM TC with a detection limit of 68.0 nM. TC in milk samples was quantified with high accuracy and precision. This integration of smartphone and visual fluorescence in solution is accurate, reliable, cost-effective, and time-saving, providing an alternative strategy for the semi-quantitative determination of TC on-site. [ABSTRACT FROM AUTHOR]

Copyright of Gazi University Journal of Gazi Educational Faculty (GUJGEF) is the property of Gazi University Journal of Gazi Educational Faculty (GUJGEF) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This is a study on the microtonal aspects of György Ligeti's Hamburgisches Konzert für Horn und Kammerorchester mit 4 obligaten Naturhörnern, with special reference to its relationship with the American composer Harry Partch. The special mixture of equal temperament versus just intonation is analyzed for longer passages and adhoc chords in the concept of Ligeti. The movement "Choral" is confronted with Harry Partch's idea of "tonality flux". The "Hamburgisches Konzert für Horn und Kammerorchester mit 4 obligaten Naturhörnern" by György Ligeti, composed in 1998-20022, joins a long chain of exploratory forms of thought in his compositional work long years before he had pondered meloharmonics that would illuminate the great theme of tonality in a novel, personal way. In the Horn Trio (1982), melodies containing natural tones appear for the first time in the movement "Alla Marcia." Previously, in the same work, Ligeti used the 11th harmonic as a precise quarter tone. Yet in the Horn Trio, these microtonal events are transverse to the other voices of violin and piano. Ligeti spoke of three "autists," each living in his world of moods/tunings. In the works that followed, microtones take up an ever wider space, up to the Piano Concerto (1985-88) with 5th, 7th or 11th harmonics in trumpet, horn and trombone, and then to the Violin Concerto (1990-92), where two solo satellite strings from the orchestra, violin and viola, are retuned in natural interval relationships. The Viola Solo Sonata (1991-94) contains in the first movement "Hora lungă" a sign world new to Ligeti for natural thirds, natural sevenths and the 11th natural tone. He adopts these signs for the Hamburgisches Konzert, on which we will now focus. [ABSTRACT FROM AUTHOR]

In major‐minor tonality, V implies I, and rising fourths, falling thirds and rising seconds between successive chord roots are more common than falling fourths, rising thirds and falling seconds respectively. Possible explanations involve history (in two‐part medieval counterpoint, harmonic major sixths resolved to octaves – maintained in V–I); the rising leading note (V–I includes it, IV–I does not); acoustic speculation (in V–I, the third harmonic of 1̂$\hat 1$ resolves to the second); voice leading (in V7–I, a tritone resolves to a third by contrary step); melodic closure (a rising melodic leap implies subsequent falling steps, and melodies often end with 2̂$\hat 2$–1̂$\hat 1$, harmonised V–I); root newness (chords 'progress' if the second chord's root is not part of the first); and tonal stability (V is less stable than IV, giving it a stronger 'urge' to resolve). An additional possibility combines the 'virtual‐pitch' theory of Ernst Terhardt with the 'implication‐realisation' theory of Leonard B. Meyer and Eugene Narmour. Major and minor triads imply subsidiary virtual pitches (missing fundamentals; see Rameau's 'fundamental bass') at third and fifth intervals below the root. These weakly perceived pitches are realised in the next chord if the root falls by a third or rises a fourth or major second, creating a feeling of forward progression – while also facilitating intonation for singers and melodic instrumentalists. The theory correctly predicts that successive harmonic complex (but not pure) tones an octave apart sound more similar if rising, and rising octaves are more common than falling in melody. It also explains why Classical modulations are asymmetrical in the opposite direction, major keys tending to modulate to V (not IV) and minor to III (not VI): accidental flats tend to be more perceptually salient or stable than sharps. [ABSTRACT FROM AUTHOR]

The article discusses two books related to music theory and opera. The first book, "Return to Riemann: Tonal Function and Chromatic Music," explores a new music-theoretical approach to understanding composers like Wagner. The second book, "Longborough Festival Opera: The First 30 Years," chronicles the history and success of the Longborough Festival Opera in the Cotswolds. The article provides an overview of the books and highlights key points and themes discussed in each. [Extracted from the article]

Equal temperament, in which semitones are tuned in the irrational ratio of $ 2^{1/12} : 1 $ 2 1 / 12 : 1 , is best seen as a serviceable compromise, sacrificing purity for flexibility. Just intonation, in which intervals are given by products of powers of 2, 3, and 5, is more natural, but of limited flexibility. We propose a new scheme in which ratios of Gaussian integers form the basis of an abstract tonal system. The tritone, so problematic in just temperament, given ambiguously by the ratios $ \tfrac {45}{32} $ 45 32 , $ \tfrac {64}{45} $ 64 45 , $ \tfrac {36}{25} $ 36 25 , $ \tfrac {25}{18} $ 25 18 , none satisfactory, is in our scheme represented by the complex ratio $ 1 + \rm {i} : 1 $ 1 + i : 1. The major and minor whole tones, given by intervals of $ \tfrac {9}{8} $ 9 8 and $ \tfrac {10}{9} $ 10 9 , can each be factorized into products of complex semitones, giving us a major complex semitone $ \tfrac {3}{4}(1 + \rm {i}) $ 3 4 (1 + i) and a minor complex semitone $ \tfrac {1}{3}(3 + \rm {i}) $ 1 3 (3 + i). The perfect third, given by the interval $ \tfrac {5}{4} $ 5 4 , factorizes into the product of a complex whole tone $ \tfrac {1}{2}(1 + 2\rm {i}) $ 1 2 (1 + 2 i) and its complex conjugate. Augmented with these supplementary tones, the resulting scheme of complex intervals based on products of low powers of Gaussian primes leads to the construction of a complete system of major and minor scales in all keys. [ABSTRACT FROM AUTHOR]

Copyright of Automobile Technology is the property of Automobile Technology Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In many bird species, nestling begging signals play a key role in the interaction between parents and their offspring during development. The information conveyed by begging calls can be disrupted by anthropogenic noise, which is one of the major threats to biodiversity in increasingly urbanized landscapes. Here, we describe the developmental change in acoustic structure of begging calls in nestling Eurasian Blue Tits Cyanistes caeruleus; begging calls are pure‐tone, low‐frequency, soft calls during the first days of development and gradually turn into white‐noise, hiss‐like, powerful calls of broadband frequency. This strong developmental variation highlights the importance of an extended sampling scheme in developmental studies. Furthermore, we pinpoint two phases where begging calls could be most vulnerable to masking by anthropogenic noise. First, during early development, begging calls are very soft and low‐pitched, closer to high‐intensity noise bands of traffic noise. Secondly, around day 11, begging calls show reduced tonality, which implies higher degradation, and relatively low amplitude, which implies reduced signal range. We encourage future research to describe acoustic development of begging calls in other species, to provide a robust foundation that will make noise mitigation policies more effective. [ABSTRACT FROM AUTHOR]

This article explores how Cormac McCarthy’s The Passenger (2022) and Stella Maris (2022) cement a reliance on Gothic literary minimalism. Although minimalism and the Gothic are traditionally positioned as aesthetic opposites, with the former orientated toward stylistic sparsity and the latter an art of excess, I examine how both converge in these interconnected novels to further an affective atmosphere of lessness and loss. Recalling McCarthy’s prior affiliation with both aesthetic contexts, I argue that these novels consider the emptiness of genre and event via a pre-established aesthetic of Gothic minimalism borrowed from postwar American literary traditions to expose societal structures of exhaustion. Through a reading of McCarthy’s duology alongside key minimalists from the twentieth century including Ernest Hemingway and Raymond Carver, I suggest that this attenuation of the Gothic is symptomatic of a significant but unacknowledged affective tonality underpinning American minimalist writing. [ABSTRACT FROM AUTHOR]

This article examines how the Tonnetz, widely considered the emblematic diagram of "Western" music theory, emerged in its modern form from a global network of scholars spanning Japan, Germany, and India. Part one consists of four microhistories of transnational connection. The first two focus on Tanaka Shōhei's 1890 presentation of the Tonnetz as representative of a "mutually civilizing" discourse between Germany and Japan, and Hugo Riemann's adaptations of Tanaka's diagram in re-centering Germany's musicological status. The second two focus on G. S. Khare's use of the Tonnetz in 1918 to bolster claims of Indian "priority" in the development of tonality, and the influence of Khare's associates on Tanaka's later efforts to bolster a Pan-Asianist narrative that cast Japan as the last bastion of an uncolonized Asian spirit. Part two applies a macrohistorical lens in analyzing how these Tonnetze played a constitutive role in the development of musical modernity, which I interpret as an emergent phenomenon of global processes of integration by building on the work of Sebastian Conrad and Sanjay Subhramanyam. Each of these Tonnetze is thus a "global Tonnetz," stemming from the drive of each nation to participate in the construction of musical modernity on a global stage. I conclude by acknowledging tensions between my histories of connection and integration, as the former traces threads of causality while the latter embraces emergence. I nevertheless argue in favor of a framework of historical duality that can hold both approaches simultaenously when dealing with global phenomena. [ABSTRACT FROM AUTHOR]

DIFFERENT MUSICAL INSTRUMENTS HAVE DIFFERENT pitch processing demands. However, correlational studies have seldom considered the role of musical instruments in music-to-language transfer. Addressing this research gap could contribute to a nuanced understanding of music-to-language transfer. To this end, we investigated whether pitched musicians had a unique musical advantage in lexical tone perception relative to unpitched musicians and nonmusicians. Specifically, we compared Cantonese pitched musicians, unpitched musicians, and nonmusicians on Thai tone discrimination and sequence recall. In the Thai tone discrimination task, the pitched musicians outperformed the unpitched musicians and the nonmusicians. Moreover, the unpitched musicians and the nonmusicians performed similarly. In the Thai tone sequence recall task, both pitched and unpitched musicians recalled level tone sequences more accurately than the nonmusicians, but the pitched musicians showed the largest musical advantage. However, the three groups recalled contour tone sequences with similar accuracy. Collectively, the pitched musicians had a unique musical advantage in lexical tone discrimination and the largest musical advantage in level tone sequence recall. From a theoretical perspective, this study offers correlational evidence for the Precision element of the OPERA hypothesis. The choice of musical instrumental may matter for musicto- language transfer in lexical tone discrimination and level tone sequence recall. [ABSTRACT FROM AUTHOR]

PROFESSIONAL MUSICIANS HAVE BEEN TEACHING/ learning/interpreting Western classical tonal music for longer than atonal music. This may be reflected in their brain plasticity and playing efficiency. To test this idea, EEG connectivity networks (EEG-CNs) of expert cellists at rest and during real and imagined musical interpretation of tonal and atonal excerpts were analyzed. Graphs and connectomes were constructed as models of EEG-CNs, using functional connectivity measurements of EEG phase synchronization in different frequency bands. Tonal and atonal interpretation resulted in a global desynchronization/dysconnectivity versus resting--irrespective of frequency bands--particularly during imagined-interpretation. During the latter, the normalized local information-transfer efficiency (NLE) of graph-EEG-CN's small-world structure at rest increased significantly during both tonal and atonal interpretation, and more significantly during atonalinterpretation. Regional results from the graphs/connectomes supported previous findings, but only certain EEG frequency bands. During imagined-interpretation, the number of disconnected regions and subnetworks, as well as regions with higher NLE, were greater in atonal-interpretation than in tonal-interpretation for delta/theta/gamma-EEG-CNs. The opposite was true during real-interpretation, specifically limited to alpha-EEG-CN. Our EEG-CN experimental paradigm revealed perceptual differences in musicians' brains during tonal and atonal interpretations, particularly during imagined-interpretation, potentially due to differences in cognitive roots and brain plasticity for tonal and atonal music, which may affect the musicians' interpretation. [ABSTRACT FROM AUTHOR]

The vast majority of preschool and early childhood teachers admit that they have problems with implementing musical issues. Experimental research indicates that the inability to sing, move to music, differentiate tonality and meter, improvise, read and write down music, is mainly caused by deficits in audiation. The article focuses on research results regarding the effectiveness of recognizing a melody presented instrumentally in eight tonalities: 1. Major; 2. Dorian; 3. Phrygian; 4. Lydian; 5. Mixolydian; 6. Aeolian; 7. Harmonic Minor; 8. Locrian. Due to the purpose of the research, the rhythmic content of all versions was the same, and the procedure used allowed for comparing students’ attention by determining the time of receiving (listening to) the melodic line and the moment at which they gave the answer. Listening skills help develop critical thinking skills, which are important in any form of communication: speaking, singing, reading, writing or synthesizing information.

While there is a clear tendency for a Theme not to occur within its own tone group, it is equally clear that clauses are frequently formed out of more than a single tone group. Hence it is precipitous to assume an a priori relationship between clause and tone group/information unit. Speakers in pursuit of their individual communicative choices manage their interactional and informational needs by producing prosodic and thematic choices appropriate to their goals. Such choices as we have seen are frequently mutually re-enforcing, but speakers may employ prosodic choices which foreground their interactional needs. Specifically, this entails that there is no direct relationship between lexico-grammatical and prosodic meanings; both redound with semantic meanings. Yet, these meanings may be constrained by the interactional demands of the communicative situation in which a speaker operates. In this paper, I examine the spoken realisation of Interpersonal Theme and find that Interpersonal Themes realized by Mood adjuncts and metaphors of modality tended to be realized with different key. Similarly, the expectation that marked Theme was likely to attract high key was found to be subject to the speaker’s need to manage the interaction.

Diachronic stylistic changes in music are to a large extent affected by composers' different choices, for example regarding the usage of tones, intervals, and harmonies. Analyzing the tonal content of pieces of music and observing them over time is thus informative about large-scale historical changes. In this study, we employ a computational model that formalizes music-theoretic conceptualizations of tonal space, and use it to infer the most likely interval distributions for pieces in a large corpus of music, represented as so-called 'bags of tonal pitch classes'. Our results show that tonal interval relations become increasingly complex, that the interval of the perfect fifth dominates compositions for centuries, and that one can observe a stark increase in the usage of major and minor thirds during the 19th century, which coincides with the emergence of extended tonality. In complementing prior research on the historical evolution of tonality, our study thus demonstrates how example-based music theory can be informed by quantitative analyses of large corpora and computational models. [ABSTRACT FROM AUTHOR]

This article is a collaborative writing experiment emerging from an ongoing reading group focused on more-than-human and decolonial philosophies of creativity. It takes up the concept of the 'impersonal' as a call to explore the affective dynamics of group subjectivity through practices of reading collectively. Over three years, the group has moved through, with and across a range of texts that intersect with studies in process philosophy, Indigenous studies, affect theory, critical posthumanism and the radical Black tradition. The conceptual figure of the impersonal haunts our readings across these diverse bodies of work. Even for just a few hours each fortnight, the reading group contours a time where the impersonal ruptures the demand to be and belong as individualised subjects. Our collaborative writing jumps and stutters across this chromatic time-scape, sifting through an impersonal memory of events and their reverberating tonalities and inflections in the passing present. [ABSTRACT FROM AUTHOR]

• Effective removal of surface contamination through washing, analyzed via image processing. • Improved textile preservation with a higher surfactant concentration during washing. • In-depth analysis of textiles from Pachacamac site, covering composition, morphology, and mechanics. • Resilience of internal textile crystalline structure post-washing and aging. • Significance of textile preservation in cultural heritage studies. Conservation of textiles is indubitably a delicate and relevant matter, as its focus is to preserve pieces that carry unmeasurable historical value. This work aims to evaluate the impact of washing and aging processes in the conservation of archaeological textiles. The samples used are Peruvian textiles found in the Museum of Site and Archeological Sanctuary of Pachacamac, located in the Lurín district, city of Lima, Perú. The museum's cleaning protocol was replicated using the immersion washing method with Orvus WA paste as a surfactant at concentrations of 0.5% and 1% w/w. Samples analyzed conditions included: unwashed control samples, samples washed with both concentrations, and samples washed and followed by a prolonged light exposure aging. Evaluated parameters were changes in tonality by conducting surface analysis through scanning electron microscopy and image processing, determining the crystallinity index using the X-ray diffraction method, analyzing surface properties via X-ray energy dispersion spectroscopy, and mechanical properties by tensile testing The obtained results show the effective removal of surface particles, mostly soluble salts. Prolonged light exposure caused a loss of color saturation on the textile due to photodegradation. Meanwhile, the washing process with a 1% surfactant concentration showed no loss in the mechanical properties; furthermore, previously washed aged samples showed the ability to better withstand the aging and photodegradation process and better retain their mechanical properties compared to the untreated uncleaned sample. [ABSTRACT FROM AUTHOR]

Many diverse notions are involved in what is loosely called "landscape music". This short discussion article distinguishes five categories. They are music inspired by landscapes, music that depicts chosen aspects of a landscape, music associated by listeners with landscapes unintended by the composer, musical landscape and film, and music that has been influenced by built surroundings. The use of these descriptive categories enables a more detailed elucidation of how landscape and music interact, and leads into a discussion of Beethoven's influence on the development of classical music in the nineteenth and twentieth centuries. The article concludes with an example of contemporary South African landscape music. [ABSTRACT FROM AUTHOR]

Music that evokes strong emotional responses is often experienced as autobiographically salient. Through emotional experience, the musical features of songs could also contribute to their subjective autobiographical saliency. Songs which have been popular during adolescence or young adulthood (ages 10–30) are more likely to evoke stronger memories, a phenomenon known as a reminiscence bump. In the present study, we sought to determine how song-specific age, emotional responsiveness to music, musical features, and subjective memory functioning contribute to the subjective autobiographical saliency of music in older adults. In a music listening study, 112 participants rated excerpts of popular songs from the 1950s to the 1980s for autobiographical saliency. Additionally, they filled out questionnaires about emotional responsiveness to music and subjective memory functioning. The song excerpts' musical features were extracted computationally using MIRtoolbox. Results showed that autobiographical saliency was best predicted by song-specific age and emotional responsiveness to music and musical features. Newer songs that were more similar in rhythm to older songs were also rated higher in autobiographical saliency. Overall, this study contributes to autobiographical memory research by uncovering a set of factors affecting the subjective autobiographical saliency of music. [ABSTRACT FROM AUTHOR]

Tonality is one of the most important concepts in music theory, determining how music theorists organize music institutionally (in curricula, conferences, etc.) and conceptually. For François-Joseph Fétis, who first popularized the term in the nineteenth century, it was a central component of his biologically racist, white-supremacist music theory. This essay argues that the term as it is used today perpetuates this racism by associating a mix of musical features and human perceptual capacities with a Eurocentric historical classification, and by maintaining a teleological evolution narrative based on the European classical music tradition. It argues, furthermore, that scholarship can do away with the terms tonality and tonal music and would profit from instead using more specific terminology for musical features like tonics, major and minor keys, scale degrees, consonance, and functional harmony. [ABSTRACT FROM AUTHOR]

The article discusses the controversy surrounding the term "tonality" in music theory. The author argues against the proposal to remove the term from the theoretical lexicon, stating that while the concept of tonality has been tainted by racist ideologies in the past, it is not the sole factor responsible for perpetuating racism in music institutions. The author also addresses the historical origins of tonality and its evolution over time, highlighting the diverse meanings and interpretations associated with the term. Ultimately, the author suggests that instead of eliminating the term, music theorists should use it carefully and thoughtfully in their scholarship and teaching. [Extracted from the article]

This article examines the issue of racism and white indifference in the field of music theory. It discusses the lack of representation and inclusion of Black, Indigenous, and People of Color (BIPOC) in scholarly publications, which perpetuates white supremacy and limits the diversity of perspectives in the music academy. The concept of tonality is explored as a representation of whiteness and white supremacy, with the suggestion that it should be reevaluated due to its historical and racial implications. The article also introduces the Russian term "lād" as an alternative to tonality, which is used more inclusively in Russian music theory. The author argues for a reimagining of music theory that is inclusive and respectful of all musical peoples, and highlights the challenges faced by BIPOC scholars in the field. [Extracted from the article]

This article explores the author's personal experiences and reflections on their love for tonal music and their shame for also enjoying Japanese popular music. They discuss the societal expectations that influenced their feelings of shame and the performative aspect of expressing their enthusiasm for European classical music. The author also examines the concept of tonality and its connection to racism, as well as the limitations of the tonal narrative. They argue for a broader understanding of music beyond the tonal and atonal categories, suggesting that tonal harmony still exists in modern popular music and should not be dismissed as inferior. The author proposes being specific and clear in discussing different types of music, avoiding the privileging of one style over others. [Extracted from the article]

This article examines the concept of tonal hearing and its significance in the study of music. It delves into the historical and cultural context of tonality, particularly its association with European art music from the 18th and 19th centuries. The author raises questions about the assumptions and limitations of tonal hearing, especially when applied to early music and other musical traditions. The article advocates for a more inclusive and diverse approach to music analysis that incorporates non-Western perspectives. Additionally, it mentions the book "Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century," which received the Wallace Berry Award from the Society for Music Theory in 2020. The book explores tonal expectation during the late 16th and early 17th centuries, providing insights into the understanding of homophonic music during that time period. [Extracted from the article]

The article discusses the relationship between music theory, musicology, and racism. It argues that musicology has been racist in its exclusion of American Black idioms and its failure to acknowledge the dominance of these genres in Western music history. The article also examines the racist ideologies embedded in the concepts of tonality and its development by figures like François-Joseph Fétis and Heinrich Schenker. It suggests that tonality's hierarchical orientation and demands for eradicating dissonant elements resonate with a racist agenda. The author advocates for a reevaluation of tonality and the adoption of approaches that consider other aspects of music, such as time, affect, and bodily experience. [Extracted from the article]

This article examines the concept of tonality in music theory and its potential connection to systemic racism. The author, a music psychology researcher and immigrant, questions the racial implications of tonality and explores its definition as both an institution and a set of organizing principles. The article suggests alternative approaches to studying diverse musical systems and proposes the use of artificial tonal systems and grammars for future research. It also discusses the Bohlen-Pierce scale, a 13-step scale that challenges traditional Western tonality, and emphasizes the importance of curiosity, humility, and interdisciplinary collaboration in music-theoretical development. The author advocates for a more inclusive and forward-thinking approach to music studies. [Extracted from the article]

While there is a clear tendency for a Theme not to occur within its own tone group, it is equally clear that clauses are frequently formed out of more than a single tone group. Hence it is precipitous to assume an a priori relationship between clause and tone group/information unit. Speakers in pursuit of their individual communicative choices manage their interactional and informational needs by producing prosodic and thematic choices appropriate to their goals. Such choices as we have seen are frequently mutually re-enforcing, but speakers may employ prosodic choices which foreground their interactional needs. Specifically, this entails that there is no direct relationship between lexico-grammatical and prosodic meanings; both redound with semantic meanings. Yet, these meanings may be constrained by the interactional demands of the communicative situation in which a speaker operates. In this paper, I examine the spoken realisation of Interpersonal Theme and find that Interpersonal Themes realized by Mood adjuncts and metaphors of modality tended to be realized with different key. Similarly, the expectation that marked Theme was likely to attract high key was found to be subject to the speaker's need to manage the interaction. [ABSTRACT FROM AUTHOR]

Since the 1980s, deconstruction has become a popular approach for designing architecture. In music, however, the term has not been absorbed as well by the related literature, with a few exceptions. In this article, ways to find ideological groundings for deconstructivism in music are introduced through the concepts of enchaînement and reconstruction paradoxes. Similar to the Banach–Tarski paradox in mathematics, reconstruction paradoxes occur when reconstructing the parts of a whole no longer yields the same properties as the whole. In music, a reconstruction paradox occurs when a piece constructed from tonal segments no longer yields a perceived tonality. Deconstruction in architecture heavily relies on computer-aided design (CAD) to realise complex ideas. Similarly in music, computer-aided composition (CAC) techniques such as neural networks, concatenative synthesis and automated orchestration are used. In this article, we discuss such tools in the context of this advocated new aesthetics: deconstructivist music. [ABSTRACT FROM AUTHOR]

In 2019, two CDs were released to celebrate Clara Schumann's bicentenary. "Clara Schumann: Complete Songs" contains her twenty-nine known Lieder, while "Clara Schumann Piano Works" showcases a selection of her piano music. These CDs provide valuable insights into Clara Schumann's musical world and creative output. The first CD was recorded in concert halls, offering a clear and balanced sound, while the second CD was recorded in chapels, creating a more intimate and natural listening experience. Both CDs highlight Clara Schumann's compositional abilities and bring her artistic personality to the forefront. The performances on the CDs demonstrate a deep understanding of the text and showcase the pianist's ability to enhance the emotional impact of the music. This text explores the performances and interpretations of Clara Schumann's music by different artists, emphasizing the musicality and sensitivity of Alexandra and Gijsbertsen's performances, as well as the stylistic differences in their approach compared to Mantese's interpretations. It also delves into the use of specific musical techniques, such as tempo rubato and asynchrony, by Levy and Mantese, and their adherence to historical performance practices. The text acknowledges previous recordings of Clara Schumann's music and highlights the significance of these new recordings in elevating her status as a composer. [Extracted from the article]

"The Music in the Data" is a book that explores the use of corpus studies in music theory. It introduces various quantitative methods and models to analyze musical data and argues that a sense of key in music is learned implicitly through exposure to different musical styles. The book also discusses the differences between music and language perception and serves as an introduction to corpus studies, a reference for quantitative methods, a reflection on data-oriented studies, and a pedagogical resource. It encourages a plurality of interpretations and provides a framework for analyzing different musical styles. [Extracted from the article]

George Russell conceptualized his Lydian Chromatic Concept of Tonal Organization as a theory of tonality. He includes an analysis of the opening of Maurice Ravel's "Forlane" from Le Tombeau de Couperin in the fourth and final edition of his text to demonstrate what his theory—"The Concept"—offers for the analysis of Western art music. This article takes Russell's claim seriously, discusses The Concept as a theory of tonality, and extends Russell's analysis to the entirety of "Forlane." I also connect Russell's work to broader Black cultural practices and their socio-political resonances. [ABSTRACT FROM AUTHOR]

This article examines the elaborate compositional processes at work in the opening movement of Mendelssohn's Quartet in D major, Op. 44 No. 1 (1838) in the service of advancing and further refining the application of contemporary Formenlehre to nineteenth‐century music. Most conspicuous of these features is the role taken by the key of F♯ minor, iii of the tonic, which assumes increasing prominence over the course of the exposition, culminating in a curious ostensible secondary theme (bar 71) which appears initially to contradict the tonality of A major just confirmed. This harmonic argument runs alongside a fluid approach to phrase and interthematic structure, in which not only are the erstwhile first theme and transitional material subject to functional transformation but the latter is further elided with potential secondary material, while no terminating cadence (or EEC) is present either. Current analytical approaches – foremost here, sonata theory – cannot fully elucidate the subtlety of Mendelssohn's procedure (one might variously argue for an overridden medial caesura, a secondary theme starting in multiple places, a continuous or even a failed exposition), and nonetheless, clear precedents for individual elements of Mendelssohn's design can be found earlier in the music of Haydn and Mozart. Mendelssohn's movement raises significant questions about recent approaches to theorising nineteenth‐century form and its relation to Classical precedents, not all of which can be easily answered. [ABSTRACT FROM AUTHOR]

Consonance perception has been extensively studied in Western adults, but it is less clear how this perception develops in children during musical enculturation. We investigated how this development occurs in 4- to 6-year-old children by examining two complex musical skills (i.e., consonance and tonality preferences). Accordingly, we developed a child-focused approach to understand the underlying developmental processes of tonality and consonance preferences in 4- to 6-year-old children using a video interview format. As previous studies have confounded preference with perception, we examined each concept separately and measured perceptual abilities as categorization. For tonality, the ability to categorize tonal and atonal melodies developed by the age of 6 years. It is noteworthy that only children who could categorize successfully showed a preference for tonality at the age of 6. For consonance, we observed an early preference for consonance at 4 years of age, but this preference was only measurable with large differences between consonant and dissonant stimuli. We propose that tonality and consonance preferences develop during childhood with increasing categorization ability when the surrounding musical culture is marked by Western tonality and consonance.

For the different embodiments of exotic styles in musical compositions, composers have provided a number of examples of patterns and new directions, broadly summarizing it as the musical characteristics of a different region, whether apparent or not, that are reflected in a musical work. Bright Sheng is one of the leading Chinese-American whose significant works exhibits a strong exotic style using Western compositional technique. This article analyses Sheng’s Dance Capriccio composed in 2011, featuring Sherpa folk music. The analysis focuses on how Sherpa folk song and dance are reflected in Dance Capriccio, emphasizing how the tonal and rhythmic construction reflects the traditional folk song. It is also gathered that the gestural movement of Sherpa dances are reflected in this work. This paper will provide an insight into the infinite possibilities of modernist works through the integration and narration with exotic characteristics.

The article concerns the problem of the way of plastic presentation under chromatic ratio in the painting from the years ’40–’50. In the first post-war decade, the national culture in the territory between the Dniester and the Prut is subject to severe ideological restrictions that had a strong impact on the artistic life. The new requirements change the artistic vision of plastic artists and focus national art on the aesthetics of „socialist realism”, with an emphasis on social and historical themes, rendered in a pronounced narrative-literary character. From a stylistic point of view, the painting of the post-war period reveals a way of plastic expression and a chromatic predilection with reminiscences of the academic tradition – plein-air-ist manner, „non-finite” technique, modeling of the form by the chiaroscuro method, the use of the type of tonal contrast, dark color of warm shades (ochre-brown, olive-gray, etc.). Among the artists who adapted to the new requirements of the time and who practiced a painting of „Peredivjnicist” influence, are M. Gamburd, D. Sevastianov, A. Baranovici and others. The socio-cultural transformations after 1956–1957 led to the „liberation” of the artistic vision from the conventionalism of „socialist realism”. According to the result of a chromogram made by the author, it appears that, in the national painting of the post-war period, dark colors with a warm hue prevail, with a ratio of about 43%.

The practice of improvised or apparently improvised preludes has been widely documented over the centuries. Harpists of the late 18th and early 19th centuries were widely expected to introduce pieces of music with improvised preludes. This article shows how harpists drew techniques from thoroughbass treatises and keyboard repertory. Harpists also created their own idiosyncratic features for preludes, using the idiomatic characteristics of their instrument (refined arpeggios, hand-crossings, harmonic sounds) while using the harp's pedals to expand the harmonic and chromatic palette of the repertory. The article also shows how formulaic figuration and harmonic patterns were used as building blocks for improvised and composed preludes, and as elements in the education of harpists. [ABSTRACT FROM AUTHOR]

This paper presents the results of a listening experiment designed to assess annoyance and perceived loudness (PL) for several unmanned aircraft system (UAS) operations, with the listener simulated in indoor and outdoor positions. This research investigated (i) how participant responses change depending on UAS operation, (ii) which broadband metrics are most suitable for representing annoyance and PL, (iii) differences in noise level required to result in equal participant responses to different operations, and (iv) which sound quality metrics (SQMs) are significant for UAS noise perception. Results indicate annoyance and PL responses were greatest for landing operations with flyovers being the least annoying or loud. LAeq, LASmax, and loudness (N5) were the strongest predictors in representing annoyance. Offset analysis predicted small differences in annoyance responses between flyovers and other operations, but also indicated that flyovers would require an increase to LASmax of 3.3 to 6.3 dB compared to other operations to achieve equal PL. Loudness was the most significant SQM, with minor contributions from impulsivity for annoyance and PL when outside, and tonality for PL when indoors. These findings contribute to the understanding of UAS noise perception for the development of metrics and assessment methods accounting for the characteristics of UAS operations. [ABSTRACT FROM AUTHOR]