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In attaining a degree in music, education on musical acoustics is multidisciplinary. Musical acoustics contains specialized knowledge, history, methodology, and practices, yet music itself is interdisciplinary. Ideally, acousticians recognize and validate that music is scientific and so, turn a blind eye or pay little attention to interdisciplinary physical music (i.e., migrating from music to musical acoustics). This paper examines the critical fault line erupting beneath the structural foundations of music through musical acoustics to navigate questions seldomly asked. These questions include–who should teach interdisciplinary physical music, e.g., music and mathematics, musical acoustics, psychoacoustics, what are the sets of curriculum standards and evaluation procedures suitable for the inter-multidisciplinary physical music. Finally, the paper proposes the reason why these paths are seldom crossed and provides a solution: a psychoacoustic approach to mathematical music theory as conduit to the intersection of fields with concepts traversing many disciplines.
Through mathematical representation (beat-class theory) of embodied acoustics (psychoacoustics) the predominance of the musical tradition of the Ikoro drum with the Igbo’s can be traced from the past, into the present and forecasted into the future. The Ikoro music tradition has been viewed as an integral and indispensable part of Igbo culture at large (Onwubiko and Neilsen, 2019). The major musical instruments that accompany most Igbo music are percussional, such as, ichaka (beaded-gourd rattle), okpokolo (wooden claves), and igba (membrane drum) and are characterized by successions of rhythmic interchange unlimited to interesting pitch, timbre, rhythm and meter by employing shifted accents, non-accented rhythms and syncopations. In order to understand Ikoro music located in the listener’s experience (embodied psychoacoustics), we demonstrate how mathematical music theory (beat-class theory) provides the means to articulate the “mind and body” response to the stimulus of sound. By examining the aural tradition of Ikoro music of the Igbo’s through visualizations and sonifications of beat-class theory using ski-hill graphs and circular cyclic graphs, “hidden” musical structures are revealed which possess significant cultural significance.
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